Saman Keshavarz: Twice the Speed

It’s all the more interesting for young director Saman Keshavarz when things are fast-paced and out of order. Isobel Roberts talks to him about the style that’s netted him viral and critical attention.

Hearing Los Angeles-based director Saman Keshavarz reel off Memento and Requiem For A Dream as two of the films that turned him on to filmmaking, his portfolio suddenly begins to click into place. Frequently mixing fast-paced cuts with flashback scenarios that burrow down inside their characters’ minds, the 25-year-old’s work keeps viewers on their toes and sets Keshavarz apart from the pack.

“I have a very severe case of ADD so I think my brain just kind of works in that order,” states the young director cheerfully, “but aesthetically I’m into that stuff. Not to say that’s all I really want to do, I just tend to find the alphabet is more interesting out of order. But I really try to find a reason to do it. Unfortunately a lot of great films are out of order these days, but in general I find it more challenging. There’s a rewarding quality when you have to puzzle things together and I think the viewers tend to get more if you’re successfully making them go hunt for answers. I’m very cerebral so as much as I like the emotive qualities, I also like making people think.”

Getting an early start

Born in Iran but raised in the USA, Keshavarz grew up in the California capital of Sacramento. With parents that let him watch whatever he wanted, his film education started young and it was in high school that he began playing around with video cameras, which led him to major in Film at the Art Center College of Design in Pasadena. The design-heavy course gave Keshavarz what he calls “a kick in the ass” when it came to aesthetics and typography, and it was at school that he first came under the spotlight for his Cinnamon Chasers video Luv Deluxe.

“When I was in school I really wasn’t fond of doing short films,” explains Keshavarz. “I was very analytical beyond just honing my craft and I wanted to figure out how in this economy, in this world, I could get some attention. And for me it was to attach myself to a song I found interesting and then use their fanbase and their reach to tell your story or say what you want to say.”

A fan of the song on a personal level, Keshavarz contacted the London-based act with a synopsis – what he describes as a modern day Bonnie and Clyde meets Run Lola Run story – and after getting the go-ahead he set about fleshing out the plot with his co-writer Nate Eggert. A point of view tale that repeatedly rewinds back to the same point as a different decision is made by its lead characters and a new narrative plays out, the video became an online hit and went on to win Best Music Video at SXSW in 2010.

“On a viral level it got a lot of attention from publications,” recalls Keshavarz, “but I didn’t get approached by production companies right away. Once you get attention it’s not easy – it’s like a whole new game. I didn’t know if I should go back to my school stuff or if I’d entered the professional world and it wasn’t until I won SXSW that I got signed to my first production company [Paydirt].”

Since Luv Deluxe other music videos have followed. For artist Russ Chimes, Keshavarz again experimented with the editing process, slicing up the story and making the viewer work for their reward, whereas for Apparat track Song of Los, Keshavarz took a slower-placed approach. Still playing with ideas of memory, the sci-fi themed video followed the life of a robot who had learnt to feel real emotions.

“Sci-fi is really interesting to me if it’s some type of social commentary, and I think the best ones say something about the world or forewarn,” comments Keshavarz. “I like films like Children of Men as they say something about society, even if that problem will never happen or could not physically happen.”

Bright young things

After spending time at Paydirt Pictures in the US, Keshavarz recently signed to London-based Pulse Films, a production house known for its strong musical ties and cross-platform approach, and for Keshavarz it was this forward-thinking attitude that attracted him to the roster. “For a lot of the larger companies it’s about keeping afloat and staying alive rather than taking over the world,” believes Keshavarz, “but I find that Pulse has that mentality. It’s run by a very young mind, Thomas Benski, who is also young for owning such a successful and young company and that’s just sort of closer to me.”

While most of his music promos thus far have been for electronic acts, he’s now branching out into rock and pop, has shot his first commercial, and is also working on two feature films. In fact, Keshavarz is one hell of a busy man, but that’s just the way he likes it.

“You can’t just wait around for stuff, you have to keep doing,” he sums up, “especially these days when the lines are blurred with what you can make – it’s not just videos or commercials or films, it’s kind of whatever you want.”