Name: Jonathan Klein
Can you describe your company?
Partizan is a production company with a collective of content creators. I don’t know exactly what that means, but I like awesome alliteration apparently.
What would surprise people the most about what falls under that title of director?
People think of directing as barking orders at people, bending people to your will, to your vision. That’s not how I operate. What I try to do is maybe counterintuitive, but it’s about finding ways to maximize everyone’s potential, eliminating barriers for them and doing things to earn their trust and respect. For me, it’s probably more akin to Greenleaf’s concept of servant leadership.
What’s your favorite part of the job?
Working with skilled, motivated people to transfer the sight and sound from the mind into reality. Well, that and craft services, assuming they have beef jerky (teriyaki flavor, preferably).
What’s your least favorite?
How fast time seems to elapse when you’re shooting — it’s like the clock moves at 20 times normal speed. I have to stop and count to 10 a few times during the day while looking at a watch just to make sure the space-time continuum hasn’t been irrevocably altered. Wouldn’t that suck if I accidentally accelerated time for everyone just because I was having fun?
If you didn’t have this job, what would you be doing instead?
Trying to get this job! Hey, I get to do what I love. Or maybe volunteering at a local animal shelter?! Wait, does that sound too Miss America?
Why did you choose this profession?
It’s probably corny, but Maya Angelou said, “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.” Actually, that’s not corny at all. You can’t beat that, right?
My father was a photographer. My brother and I made little movies with him as kids, and he’d even let us get behind and operate the cameras. That showed me that you could take people with you on emotional journeys anywhere your imagination could go.
What was it about directing that attracted you?
I always really liked the chair. Even though I rarely (if ever) sit on shoot day. You have to admit those director’s chairs with their canvas slip-on backs and elegant fold-up engineering are cool.
Ok! Well, what is it about directing that continues to keep you interested?
It’s always new. Every day, there are new techniques and shots to try, new crew to meet and learn from, new toys and new ways of playing with them.
How do you pick the people you work with on a particular project?
I was never the smartest one at the dinner table, but that’s been by choice — I want to be surrounded by brilliant people who inspire with their ideas. The notion of sharing a meal with someone is actually a great filter for choosing collaborators: Is this a person whose input I value and who will have lasting appeal through our time together? Of course, they are certainly entitled to ask themselves the same questions about me!
How do you work with your DP?
Before we shoot, we talk. Usually, we talk on the phone, but I prefer that it’s in-person or on video chat. We exchange ideas and references. I tend not to refer to other movies (or music videos or commercials) because I don’t want things to be too prescriptive or derivative. I ask them if there’s anything they want to try.
On each project, I try to do one or two things that I haven’t done before. On-set, my domain is the frame; their domain is how we achieve it, so I don’t demand they use a 21mm lens or anything. Instead, I explain how I think the particular shot should feel. If it feels off, I’ll suggest that maybe we should be a little looser, and it’s up to them if that means they want to back up or if they want to swap to a wider lens. Yet, I’m also open to them challenging me… about the shot, not in Scrabble. DPs are scandalously good at Scrabble.
Do you get involved with the post at all?
Yes. To paraphrase the famous quote, “Every time you make a movie, you actually make three movies: the one you see in your head when you read the script, the one you shoot and the one you edit. The only one other people ever judge you on is the last one,” so, naturally, I want to be involved in the edit.
Can you name some recent projects you have worked on?
I shot some killer driving footage for Hyundai’s new Palisade on the Pacific Coast Highway. I did a crazy ode to the sports fan for William Hill with Anomaly. Travis Kelce told me that he couldn’t believe how well we’d recreated Arrowhead Stadium in LA when I shot him for McDonald’s with We Are Unlimited.
What is the project that you are most proud of?
I directed the NFL’s tribute video to Steve Sabol, the trailblazing leader of NFL Films and one of my heroes. It was a oner, a single take that watched Steve’s actual film camera roll its final frames before a lone star in the night sky brightened. I believe Steve would have liked it.
Name three pieces of technology you can’t live without.
Contact lenses, matches and lighters. My distance vision is weak, and I’m not great with flint.
What do you do to de-stress from it all?
I listen to Miles Davis’ Sketches of Spain. I also have a limited edition Big Box of 96 Crayola crayons and some good coloring books. I find coloring to be surprisingly soul-soothing (couldn’t resist one last alliteration).