From skateboarding videos shot on a miniDV camera to directing storytelling for some of the world’s most iconic brands, Kevin D’Angelo has carved out a unique path in the world of video production.
Whether growing Sesame Street’s YouTube presence into a media powerhouse or crafting dynamic visual narratives for GE and CLEAR, his creative journey is a shining example of the power of creative evolution.
In this interview, Kevin shares the story behind his career, the projects that shaped him, and why collaboration—and an extremely chill playlist—can make all the difference on set.
FILMSUPPLY: What initially sparked your interest in video production?
Kevin D’Angelo: Skateboarding—more specifically Tony Hawk’s Pro Skater. I got that video game for Easter one year in middle school. It completely defined the rest of my childhood.
Through skateboarding, I started shooting skate videos with my friends on my mom’s miniDV camera and editing them on the family computer using Microsoft Movie Maker. I’m certain I’m not the only one with this trajectory.
Talk about how you got to where you are today as the head of video at CLEAR.
Kevin D’Angelo: I started out in YouTube strategy, growing Sesame Street’s YouTube network into a million-dollar-a-year media business for the iconic children’s brand. That was really fun. But ultimately, I knew I wanted to be directing the content—not just creating the strategy for it.
I left Sesame to build a portfolio as a director and ultimately landed at General Electric as an in-house filmmaker for the industrial powerhouse brand. When the pandemic started, I actually got really sick with Long COVID and worked freelance as much as I felt up to it.
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Around a year into the pandemic, I felt ready to pursue something full-time again, and I was so lucky to land at CLEAR. My first big project was working on CLEAR’s IPO ($YOU//NYSE) video storytelling, which, coincidentally, used a ton of Filmsupply footage.
You’ve worked for some pretty big and iconic brands. What are some of the most memorable projects you’ve worked on?
Kevin D’Angelo: It will be hard for any brand to compete with some of the projects I produced at Sesame Street. One of my favorite Sesame projects was a collaboration where Grover and YouTube sensation Kid President hosted a telethon for “Socktober,” a sock and clothing drive for the homeless.
My favorite project at General Electric has to be the customer documentary I directed in Shanghai at the Jaguar Land Rover Factory. Directing a film in China on my 30th birthday felt like such a great achievement.
Is there a part of the production process you love the most?
Kevin D’Angelo: Not just saying this because it’s Editfest, but I really love when a cut starts to come together and makes you start to see the bigger vision. It’s even more fun to watch peers or clients react and get excited.
What role does collaboration play in your creative process? And how do you work with others to bring your vision to life?
Kevin D’Angelo: The best part of filmmaking is the people you make it with. I’m part of an incredible and talented creative team at CLEAR, and we work with amazing freelancers and production partners. We come together all the time to figure out campaigns, product, and partnership storytelling.
I always try to lead with story, script, or concept. Without any of those things anchoring your creative, you end up losing your way.
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How do you handle tight deadlines and high-pressure situations?
Kevin D’Angelo: This was a big challenge to me when I first started in the industry. The pressure is always high on set. That’s especially true when you’re responsible for a lot of people, money, safety, and the creative vision. I’ve learned to be adaptable and resilient from experiencing Murphy’s Law way too many times.
Once I learned to accept that things will go wrong, I could focus more on problem-solving. When possible, I try to keep a playlist of comically chill music playing on set. (I really like Sugar Ray radio on Spotify).
You also do your own independent films on the side. How do you choose the subjects or stories you want to explore in your films?
Kevin D’Angelo: Yes, I’m an active independent filmmaker outside of CLEAR. My independent work tends to happen organically and be an extension of whatever place or community is inspiring me at the time.
In 2018, I went to Hawaii for the first time to make a short branded documentary about a beach cleanup on the island of Molokai.
I was so inspired by the local community’s commitment to the environment—or Aloha ʻĀina. I kept going back and eventually made a feature documentary over my next couple of visits.
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Tell us about a recent project you’re really proud of.
Kevin D’Angelo: My most recent project is a feature documentary in Hawaii called The Last Cool Thing I’ve Ever Done.
The film chronicles my experience befriending the Molokai community in Hawaii, my time boar hunting with them in February 2020, and how my experience with Long COVID shaped the meaning and memory of that trip over the next 4 years.
The film premiered at the Hawaii International Film Festival at the end of last year. We’re continuing our festival run this spring!
Why do you recommend Filmsupply as a resource for editors, agencies, and post houses?
Kevin D’Angelo: I was drawn to Filmsupply simply for the high quality and elegant visuals. This genuinely separates its library from the rest of the stock video world. I felt like I could really feel the emotion and story behind the visuals on Filmsupply. It’s refreshing.
Filmsupply is always the first place I look when I’m building a stock-based project or need to fill a shot in the edit.
When judging Editfest submissions, what’s the one thing you look for that will set great edits apart from the rest?
Kevin D’Angelo: I’ve always thought that good editing is like a good haircut. It’s somewhere between what you tell the barber you want, and what the barber knows will actually look good on you. As a judge for Editfest, I’ll be looking for some good haircuts.
