Film
Film is the pinnacle.
Pictures, sound, music - crafted and fused.
Yes, it's passive.
But where else can someone laugh and cry within the same 90 minutes?
Me holding a camera is nothing new.
My dad had Polaroids and those square point-and-shoots with flash bulbs that popped off like firecrackers.
I started carrying a camera in 8th or 9th grade.
At school, at parties, everywhere.
I shot film all the way through the '90s.
Dropped bags of 35mm at Ricky’s in SoHo.
The dude in the back was an artist.
He liked my weird stuff, subway chair seats, sky, graffiti, light.
I eventually switched to digital, a Nikon Lumix at first.
But I dreamed of a Canon 5D for years.
When I finally pulled the trigger, Jen and I were in a cab heading up Park Ave.
I looked at her, jumped out, and walked straight into B&H.
That camera changed everything.
Little Daylight — Overdose
I directed this piece with my friend John Threat - We had Jem Schofield on the MoVI.
Shot it over 2.5 days, from the Catskills to Coney Island.
All the kids were there.
Energetic, fluid, instinctive.
From Phil Souths pool to Dana Dukes studio,
The edit just fell together - pure synergy between camera, cut, and song.
We should live in that rhythm.
Forevah.
Director: Brian Caiazza
Camera: Jem Schofield
Editor: Chris Elia
Producer: Jen Watts
The Clocksmith
John was a hidden craftsman, tucked away in a basement shop that buzzed with time itself. I found him by chance, reached out, and he let me in.
No crew. No plan. Just me, my camera, and time ticking.
He moved through the space like a conductor. Brass teeth and steel spindles dancing in his hands.
The camera caught every cog, every ping of metal. You could feel the years in the layers of his bench.
The sound design folds in fragments of John Cage, mechanical, ambient, human.
His voice, weathered and steady. The rhythm of the film reveals itself slowly, like a clock coming into sync.
It’s the kind of piece I could spend a life making.
A subject and a story.
10,000 hours.
Director, Camera: Brian Caiazza
Editor: Chris Elia
Music: John Cage
works for percussion (excerpts)
FASHION
Fashion connects to beauty, not only in a surface way.
It’s the ability to work with a model, read their energy, give just enough direction - then step back and let presence take over.
You’re not just capturing a face or a figure. You’re translating the essence of the clothing. The line. The texture. The mood.
Some shoots were rugged, like Brian for Witness Company. Grit, denim, workwear.
Others, soft and ethereal, like Kendy for Mayer Wasner, barefoot in a field, linen catching late afternoon light.
I loved that swing.That range.
I learned the craft in a converted barn, Dana Duke’s studio in the Catskills. A full 180° cyc wall and all the gear.
We shot catalogs, brand films, instore loops. I found rhythm in the way jewelry moved. The way fabric held form and gave it up.
Fashion is the last bastion for the avant guard.
Stillness with a pulse. Direction with feeling. Beauty in motion.
And when everything aligns- light, posture, presence,
you don’t take the image.
You receive it.
lisa b. ”Sock Party”
Director, Camera, Editor: Brian Caiazza
Edit Assist, Producer: Jen Watts
lisa b. Classic Espadrilles
Director, Camera: Brian Caiazza
Editor, Producer: Jen Watts
Pamela Mayer Summer Collection BTS
Director, Camera, Editor: Brian Caiazza
Edit Assist, Producer: Jen Watts
MayerWasner Collection
Director, Camera, Editor: Brian Caiazza
Edit Assist, Producer: Jen Watts
Music: Josh Druckman
Witness Company Brand Film
Director, Camera, Editor: Brian Caiazza
Music: Hank Williams
Vignette: “Sharpen”
Vignette: “Whittle”
Vignette: “Dishes”
Vignette: “Choppin”