Aaron Katz Biography
Aaron Katz is an American independent filmmaker from Portland, Oregon. He is best known for writing and directing the film Dancing with the party USA and also Gemini film. Look out also for Milena Govich.
Aaron Katz Age
Katz was born on 29th October 1981, USA.
Aaron Katz Education
Aaron began his artistic career while attending Pacific Crest Community School in Portland from 1994 to 2000. He experimented with a super 8mm camera, creating a number of short films. He pursued filmmaking further at the University of North Carolina School of the Arts, where he met future collaborators Brendan McFadden, Marc Ripper, Andrew Reed, Chad Hartigan. He directed a number of short films on both digital video and 16mm film.
Aaron Katz Dating
There is no information found about his dating life and according to our sources, he is possibly single.
Aaron Katz Career
Katz’s breakthrough came in 2006 when his first feature Dance Party USA, premiered at the 2006 South by Southwest Film Festival. Katz wrote and directed the film for around $2,000 and shot for two weeks in his hometown of Portland with a small crew of friends. The film went on to play at numerous festivals all over the world and was listed as a top ten film by the New York Sun.
Katz quickly followed it in 2007 with Quiet City. Using some of the same crew and a similar budget, he shot the film in eight days in Brooklyn and again premiered the film at South by Southwest. Quiet City features fellow filmmaker Joe Swanberg in a supporting role and the two were subsequently cited as two of the founders of a new independent film movement called mumblecore. The film was released in theaters on August 31, 2007, and grossed $15,610 over its modest run. Katz, as well as Erin Fisher, Cris Lankenau, Brendan McFadden, and Ben Stambler, ere nominated for the John Cassavetes Award at the 2007 Independent Spirit Awards, given to the best film produced for under $500,000, for Quiet City.
Katz’s third feature, Cold Weather opened as a Spotlight Premiere at the 2010 South by Southwest Film Festival and went on to play the Los Angeles Film Festival, Locarno Film Festival, and BFI London Film Festival, among others. Released theatrically by IFC Films and dubbed by Indiewire as 2011’s first great American indie,” the genre-bending mystery garnered widespread praise from critics, including Roger Ebert and Manohla Dargis, and ranked on several lists among the best films of the year.
Katz went on to co-write, co-direct, and edit the widely acclaimed Iceland-set buddy comedy Land Ho! with Martha Stephens. The film premiered at the 2014 Sundance Film Festival and was acquired by Sony Pictures Classics. It also screened at the Tribeca Film Festival, Los Angeles Film Festival, Locarno International Film Festival, and BFI London Film Festival. The film won the 2015 Independent Spirit Cassavetes Award and AARP’s “Best Buddy Picture” Award and was named on several Top 10 Films of 2014 lists including Grantland, SF Weekly, and Nashville Scene.
In 2017, Katz directed Gemini, starring Lola Kirke, Zoë Kravitz, John Cho, Greta Lee, and Ricki Lake. It had its world premiere at South by Southwest on March 12, 2017. It was later acquired by Neon for distribution. Katz counts The X-Files, Buffy the Vampire Slayer, Star Trek: Deep Space Nine, and Seinfeld among his favorite shows as a teenager in the 1990s.
Aaron Katz Net Worth
The estimated Net Worth of Aaron Katz is at least $24.3 Million dollars as of 5 July 2019. He has earned his wealth mainly from his filmmaking and writing career.
Aaron Katz Films
- Dance Party the USA
- Quiet City
- Cold Weather
- Land Ho!
Aaron Katz News
How did this come about?
Aaron Katz: It really came about by bringing a few different threads together in the summer of 2015, one of which was that I had been living in L.A. at that point for two-and-a-half years and was really beginning to love the city and another was that I was watching a lot of thrillers from the ‘80s and ‘90s. I really liked the idea of finding my own way into a story like that. And the last piece was seeing Lola Kirke in “Mistress America.” I just I loved her in that film and I had already been thinking of this relationship between a movie star and a person assisting her, but once I saw her, I started to get my imagination sparked by what that would be like if Lola were to play the part, so I wrote it for her, but I didn’t know if she would do the movie or not.
Was she everything you thought she’d be once you actually met her?
Aaron Katz: She was every bit as great an actor as I thought she would be, but she surprised me in many ways. Of course, I hadn’t met her, so there was so much that we learned about each other and about how we like to work. We happen to live pretty close to each other in the eastern part of Los Angeles, so we had an opportunity to not only rehearse but just talk through the script and watch some thrillers together. So much of the character comes from Lola – things that I wouldn’t necessarily expect or things that I wouldn’t think of, and really if I can be an enabler or a facilitator for the actor’s imaginations, I feel like I’ve done my job well.
I seem to remember hearing that you also had quite a bit of time with Lola and Zoe before shooting. Did that help foster that relationship onscreen?
Aaron Katz: It’s such a luxury, which is not always possible. Zoe was here shooting “Big Little Lies” and we just got an opportunity to rehearse over kind of a long period of time. Sometimes Zoe would get busy and we wouldn’t see her for a couple of weeks, but then we’d all get together and talk things through. It was just such a great opportunity, especially in a film where you had to move quickly. Once you’re on set, things move fast and if you don’t have that relationship, it can be really hard to trust each other. There are so many scenes that are just Lola and Zoe, so having that kind of rapport was really essential.
Where did you find Heather’s mansion?
Aaron Katz: Our production designer found that. In the script, it’s written as a Spanish-style house, the kind you see all over Los Angeles from the ‘20s and ‘30s and we looked at many different kinds of houses and nothing felt quite right, quite special enough. I think thrillers have this great tradition of having really memorable, specific locations. I’m thinking of “Body Double,” which has the modernist house, or James Spader’s apartment in “Bad Influence,” which is just such a perfect example of an ‘80s corporate Los Angeles-looking apartment, so it was really important to us to have memorable buildings in this movie and to have the characters occupy these places that where you might say, “I wonder where that is. I want to see that place.