Today we’d like to introduce you to Karen Zipor.
Hi Karen, so excited to have you with us today. What can you tell us about your story?
I grew up in northern Virginia, just outside of DC. And since I was young, I knew I had a passion for art and filmmaking, drawing every day and shooting skits with my neighbors. When it came to college, I decided to attend the University of Virginia, focusing on the intersection of film and animation by double-majoring in Drama and Computer Science. In 2021, I was selected from nationwide as the prestigious Television Academy’s intern in Animation. This allowed me to work at Lex & Otis, a small animation studio creating “ARK: The Animated Series.” Afterwards, I moved on to work at Disney, making spots and interstitials across the company’s networks. Finally, I am now at the creative agency FCA, producing digital content for the biggest studios in LA, including Disney, Warner Bros, Netflix, and more.
But back at the University of Virginia, in the midst of a pandemic with no theatre, I graduated from writing plays to writing film scripts. And a particular short film I wrote, called “A Painterly Hand” had to do with the love two artists shared over their obsession with a terrifying painting depicting death. I knew this short film was one I’d eventually make… the only question was, how? After moving to LA, I reached out to friends & UVA alumni and made new connections at networking events and working on sets. I told everyone I met how I had this short I was itching to make, and many people were interested. Finally, at a certain point, I realized it was time to hit launch. I knew enough people to assemble a crew, and it was time to film. We onboarded incredible production designers, artists, and a G&E team. We held auditions and found two incredible actors to bring these love interests to life: Emily Juliette Murphy and Patrick McDermott. And thanks to my collaboration with my producer, Brody McDevitt, and DP, Shamus Hays, we shot the film at the start of December and are currently in post-production. It’s my first short out of college, shot in LA, featuring all of my own paintings and art. And yet, I couldn’t have done it without every single person on the team I found within the Los Angeles film scene.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
It’s never a perfectly smooth road to artistically accomplish something. It’s always a matter of rewrites, revisions, and unexpected circumstances on set. But what you can control is how you react to these unplanned events and making sure you have the best possible crew on set who can support you and easily adapt to you. It’s always a high-pressure scenario on set, with months of planning and personal investments. But the more you make it a fun time, the more you check in with your cast/crew, and the more you allow for room to play, the more everyone enjoys the process as well – which is highly reflected in the quality of the final product.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I do many things – like almost everyone in this town, you have (and should) wear a lot of hats! My day job is in producing for both live-action and animation. But I’ve also continued to write and direct on the side – writing feature film scripts and directing the shorts I have the ability to make. I’m a big believer that each skill bleeds into the next – a director with the skills of a producer knows how to be efficient and realistic on set. Meanwhile, a producer with a director’s brain knows how to get the biggest bang for your buck and brainstorm more creative pitches.
I’m especially unique in that I’ve always straddled the line between live-action and animation. That’s why I double-majored in college in both Drama and Computer Science. What is animation, if not just storytelling, using the latest in technology? My thesis was in motion capture performance, exploring the latest in-sensor suits and real-time feedback on the actor’s performances. So, even in my short films, I’ve continued to blend my expertise in both live-action and fine art: my short film, “A Painterly Hand,” features many of my original paintings and describes drawing techniques. As well at Disney, I created activations for both live-action and animated movies/shows. And I wouldn’t have it any other way: the people I know in both fields/mediums are some of the most imaginative and collaborative people I know, and I’m always striving to bring them together somehow.
Any big plans?
This year, I plan to finish post-production on “A Painterly Hand” and submit it through the festival circuits. We have an incredible composer (Ashna Pathan), editor (Abraham Chen), sound designer (Amaya Cranston), and colorist (Lucy Gilbert) attached.
But there’s even more coming from me! I hope to direct my first animated short and start pitching my coming-of-age feature. The projects may get bigger and bigger, but much of the team stays the same. They are people I’ve known for years, and I believe are part of that next generation of exquisite filmmaking in Hollywood. Each person is working at the top of their level in their respective field/department… but more importantly, each are a delight to work with and an incredible friend.
I cannot wait to properly enter the film festival scene in Los Angeles and meet even more film creatives – a circle I’ve quickly learned is surprisingly small.
Contact Info:
- Website: www.karenzipor.com
- Instagram: https://www.instagram.com/karenzipper/
- Linkedin: https://www.linkedin.com/in/karen-zipor/
Image Credits
Brooke Audano
Silas Vaughn
