A multi-faceted talent based out of New York, Evan Gardner wears many hats as a filmmaker; from producer, videographer, editor and creative director. He’s filmed a wide-range of projects from Snoop Dogg’s concerts to the 2012 Presidential Debate, with his work being featured on major platforms like ABC, NBC, MSG and CNBC, among many others. He also works independently with several insitutions like Touro University, NYU Langone Health, Entenmann’s and St. John’s University to create promotional content. His work in narrative filmmaking saw him debut with Finding Our Voice in 2019, a documentary that earned him five Telly Awards. He followed that success with producing the short film Tito (2022) which screened at HollyShorts Film Festival and another documentary in The Strength We Share (2023).

Do you remember the first moment you realized storytelling through video was more than a hobby for you? What flipped that switch from interest to obsession?

When I was a junior in high school, I volunteered as an editor for the 9/11 First Responders Virtual Museum at Stony Brook University. I spent hours editing the stories of first responders, listening to them describe what they went through. It was the first time I understood how powerful video could be as a vessel for emotional truth. That experience made something click for me. It stopped being a hobby and became the thing I wanted to build a life around. I remember thinking, If this is what storytelling can do, I want to do this forever.

You’re a director, producer, cinematographer, and editor — which role feels most like “home”?

Directing and editing feels the most like home to me. Those are the moments where I feel closest to the heart of the story. Directing lets me shape performance, tone, and emotion in real time. Editing lets me refine the pacing and build the narrative beat by beat. I’ve always believed a strong director and a strong editor are the anchors of any great project. When you can bring out an honest performance and then shape that performance in the edit, the whole piece comes alive.

Before ABC, NBC, and other platforms, what was one of your earliest “scrappy” or starter video projects that taught you the most?

When I was in college, our first assignment had to be shot on actual film cameras. No digital, no playback, no real safety net. After shooting, we had to wait for the film to be developed, and then physically splice and tape our edits together by hand. It was such a stripped-down, old-school process, but it completely changed the way I thought about filmmaking. It forced me to plan every shot, be intentional with timing, and appreciate the true magic of editing. You couldn’t just overshoot and figure it out later, you had to know what story you were trying to tell before you even picked up the camera. That lesson has stuck with me ever since.

When you’re crafting a story, what do you look for first? What is your starting point?

No matter the project whether it is a documentary, corporate video, or narrative, I always begin by asking two questions: Who is watching this, and why would they care? Storytelling is ultimately about connection, so understanding the emotional hook is the foundation for everything else. Once I know what the audience should feel, I can shape the visuals, the pacing, and the messaging around that. Even in corporate work, there’s always a human element to find. If you understand the “why,” the “how” becomes much clearer.

Finding Our Voice is a deeply personal and eye-opening documentary that won multiple Telly Awards — at what point during that project did you realize, “This one is different”?

Finding Our Voice was originally my master’s thesis, so my only focus at the start was to make a film that was educational, thoughtful, and respectful. I wasn’t thinking about awards at all. The moment I realized it was something more was when a speech-pathology organization in Montreal reached out to invite me for a private screening. They had heard about the film through their network, completely organically. Sitting in that room, watching people connect deeply with the story, was the first time I understood the reach it could have. It was one of the most unexpected and meaningful moments of my career.

Going from Finding Our Voice to producing a narrative short like Tito, what muscles did you have to stretch or relearn as a storyteller?

The biggest shift between documentary and narrative filmmaking is the level of planning. In a documentary, you can prepare as much as possible, but there will always be moments you didn’t expect and some of those unplanned moments end up becoming the most beautiful parts of the story. You’re capturing life as it unfolds, and you learn to react quickly and follow the emotion. With a narrative film, every single detail is intentional. Nothing happens by accident. As the producer on Tito, I had to flex a different muscle: meticulous pre-production. I helped the team think through everything from big-picture decisions like securing locations and scheduling talent, to the smallest details like props, wardrobe, and even what snacks we’d have on set to keep everyone energized. It taught me how essential structure and planning are when you’re building a world from scratch. The goal is the same authentic emotion but the pathway to getting there is entirely different.

You’ve managed live events for national broadcasts and filmed major productions — what’s the most intense “no room for error” moment you’ve experienced on set and how did it affect your work?

The most intense moment was during a live CNBC hit with the CEO at my former position. A situation like that has zero margin for error. Every technical detail, every timing cue, every camera move has to be flawless. We held multiple prep calls, ran tests, and rehearsed the full sequence to make sure everything was airtight. That experience showed me the true scale and pressure of high-level production. It reinforced something I carry with me today: pressure is a privilege. If you’re trusted with moments like that, it means you’re operating at a high level and people believe in your ability to deliver. Pressure is a privilege!

You’ve gone from filming Snoop Dogg and Big Sean to political debates — how do you mentally switch gears between such wildly different environments?

I approach every project the way I approached playing sports growing up. You prepare mentally, visualize the environment, and show up ready to perform with focus and respect. Whether it’s a music artist, a CEO, or a political candidate, I treat every set like an honor to be on. There are a hundred people who would love to be in that position, so I never take it lightly. That mindset keeps me grounded and adaptable no matter who is in front of the lens.

When working with brands like Entenmann’s and NYU Langone, how do you balance client goals with your own creative voice?

There’s always a natural push and pull between client goals and creative direction, and I actually enjoy that collaboration. At the end of the day, the client’s vision comes first, but my job is to help elevate it. I like to have open conversations about why they want something a certain way, and then I explain the creative reasoning behind my approach. Sometimes those discussions lead to a new idea that satisfies both sides. Other times the client has specific priorities that are non-negotiable, and in those cases I focus on executing their vision in the strongest and cleanest way possible. The best projects are the ones where trust builds and everyone leaves feeling heard.

What’s the one visual or storytelling “signature” you think shows up in your work even when you’re not trying to?

The note I hear most often is that my work feels human. I always try to preserve a sense of honesty in whatever I’m filming. whether it’s an interview, a brand piece, or a narrative moment. I’m not interested in making something that feels overly polished or cookie-cutter perfect. People want to connect with whoever is on screen, so I focus on capturing the moments that feel real. I think that commitment to authenticity naturally shows up in all my projects.

What kind of stories do you feel most responsible to tell right now in this stage of your career?

I feel most responsible for telling stories from people whose voices aren’t always heard. There are so many individuals and communities whose experiences never make it to the screen, and in today’s world we have more opportunities than ever to amplify them. I’m drawn to stories that create empathy, open conversations, or make someone feel seen for the first time. Whether it’s through documentary or narrative work, I want to use the tools I have to highlight perspectives that might otherwise go unnoticed. If my work can give someone a voice or help an audience understand a world they’ve never encountered, that feels like a responsibility worth leaning into.

What does the future hold for you? What is your next big project?

My next big project will be a feature-length documentary. It’s a goal I’ve carried with me for years, and after the success of my first two shorts, I feel more prepared and confident than ever to take it on. I’m in the early development stage now, and I’m excited for the challenge. It feels like the natural next step in my evolution as a filmmaker.