Lloyd Jay Fass ’97 is the founder of Fass Films, a production company specializing in premium commercial, episodic, and long-form storytelling. An eight-time Emmy-nominated producer-director, Fass has created work that ranges from traditional advertising spots to cinematic narrative pieces about founders, leadership, and institutional legacy.
Fass Films began as a small commercial production company working with entrepreneurial startups and emerging brands. Over time, the company built a reputation for thoughtful storytelling and high production quality, eventually expanding to projects with some of the world’s most recognizable brands and organizations, as well as major networks and streaming platforms.
A Dartmouth history major, Fass is particularly drawn to stories rooted in real events—moments that may not be fully understood at the time but later prove pivotal in shaping institutions, cultures, and history.
In addition to his work in film, Fass remains deeply engaged with Dartmouth. He serves as Class Treasurer for the Class of 1997, the Class of 1997 Representative to the Dartmouth Alumni Council, a Dartmouth Alumni Ambassador (interviewer), and a Board Observer to the Dartmouth Club of New York, helping support alumni engagement and mentorship across the Dartmouth community.
Q: Tell us about Fass Films. What makes it distinct in the film and media landscape, and where do you find inspiration for the stories you choose to tell?
Fass Films began as a commercial production company and has grown into a studio producing a wide range of premium visual storytelling.
Our commercial work ranges from traditional advertising spots to cinematic narrative pieces about a company’s founders, leadership, and institutional legacy. In many cases, those projects center on the story of how an organization came to exist in the first place—the founders, the decisions that shaped the company’s direction, and the moments that defined its culture.
Many of the stories we tell ultimately begin with founders and their decisions.
That interest comes directly from my background as a Dartmouth history major. I’ve always been fascinated by moments when an individual decision or act of leadership changes the trajectory of something larger.
Over time, that perspective naturally led us to expand into episodic and long-form storytelling, including the documentary work I’m now focused on.
Whether we’re working with a brand, a cultural institution, or a historical subject, the goal is always the same: to tell stories that are visually compelling but also meaningful—stories that leave the audience seeing something in a new light.
Q: Talk about your early career path and what initially drew you toward film, media, and eventually starting your own company.
I initially followed a traditional path into finance. I worked in investment banking in the media, technology, and telecommunications group, which gave me exposure to studios and media companies from a strategic and financial perspective.
I loved the intellectual challenge of banking and the teamwork involved. But over time, I realized I was more interested in building companies than advising them.
After banking I took leadership roles across a variety of organizations—from early-stage startups and mid-size companies to a large hedge fund. Those experiences gave me a strong foundation in strategy, governance, and growth.
But I increasingly felt drawn toward creative work. Storytelling had always been part of my life. I had experimented with stand-up comedy and voiceover work while still working in the business world. Eventually, I decided to bring those two sides of my background together and founded Fass Films.
Q: Which clients and communities are you most excited to work with?
The clients I enjoy working with most are those that have a compelling story to tell.
That can come from many places. Sometimes, it’s an established brand trying to communicate a meaningful vision, or a founder trying to articulate the story behind a company or a pivotal moment in its growth. Other times, it’s a nonprofit or cultural institution trying to convey the impact of its work in a way that resonates emotionally.
What excites me is the challenge of translating those stories into something cinematic and human. The most interesting projects are the ones where you uncover the deeper narrative inside what initially looks like a straightforward assignment.
I’m also constantly inspired by the creative professionals we collaborate with on set. Film is an intensely collaborative medium. Hair and makeup artists, stylists, production designers, cinematographers, editors, composers, and camera operators each bring extraordinary craft and perspective. I’m continually humbled by their artistry. Being part of that ecosystem of creativity is incredibly energizing.
Q: Tell us about the challenges, missteps, and learning moments that shaped you.
One of the biggest lessons I learned early in commercial production was how much preparation matters.
At first, I assumed many problems could simply be solved on shoot day. I quickly realized that’s not how great productions work.
A shoot day is a bit like an athletic competition. Months of preparation lead up to a very limited window when everything must come together. You may have actors who need to leave at a specific time to catch a flight, a location that’s only available for a few hours, or daylight that disappears faster than expected—and a long list of shots that must be completed before then. If something essential isn’t ready—a location, a piece of equipment, or a key setup—the entire schedule can unravel.
That experience led to a principle I often repeat to our team: we win in pre-production. The more work you do before the cameras roll, the more freedom you have once production begins—to solve problems quickly, make better creative decisions, and push the work further.
Q: Which projects feel most reflective of who you are at this stage in your career?
The project that most reflects where I am right now is a feature documentary I’m directing and producing about Kenyan Olympic legend Kipchoge “Kip” Keino.
At the 1968 Mexico City Olympics, Kip won gold in the 1,500 meters in one of the most dramatic races in Olympic history. He was seriously ill at the time, but he felt a profound responsibility to represent his newly independent country. Against extraordinary circumstances—medical, physical, and logistical—he defeated the previously undefeated American favorite and became a national hero.
What fascinates me about Kip is not just the race itself but the ripple effects that followed. His victory helped inspire generations of Kenyan runners and played a role in establishing Kenya as one of the great distance-running nations in the world.
I recently spent a month in Kenya with Kip, who is now in his mid-80s, documenting his life and legacy.
Kip’s race in 1968 felt historic at the time. But no one could have fully understood how much it would ignite the people of his country—or reshape the world’s understanding of what excellence was and where it could come from.
Q: You’ve remained connected to Dartmouth through the Dartmouth Founders Project, Alumni Council, and your Class. What motivates your commitment to giving back?
My involvement with Dartmouth began when our then-class president invited me to serve as Class Treasurer, a role I’ve now held for nearly a decade.
That single invitation opened the door to deeper engagement with the Dartmouth community. Over time I became involved in several additional ways—serving as the Class of 1997 Representative to the Dartmouth Alumni Council, acting as a Dartmouth Alumni Ambassador interviewing prospective students, and supporting alumni engagement as a Board Observer to the Dartmouth Club of New York.
What continually inspires me is how generous Dartmouth alumni are with their time and mentorship. I benefited enormously from that generosity early in my career.
Giving back, for me, means helping create those same connections for others—students, alumni, faculty, and the broader Dartmouth community.
Q: What advice would you give students about using their time at Dartmouth?
The most important advice I can offer is to push yourself outside your comfort zone.
Dartmouth is one of the rare places where you can explore widely—intellectually and professionally—and discover what truly excites you. Take courses you wouldn’t normally take. Try internships in fields you’ve never considered. Those experiences often reveal what you really care about.
At the same time, focus on building genuine relationships. Dartmouth’s network is powerful, but the real value comes from knowing people as individuals rather than simply collecting contacts.
Q: Any favorite or transformative Dartmouth memories?
One of my favorite Dartmouth experiences was founding the Dartmouth Mock Trial team during my senior year.
It required a surprising amount of entrepreneurial thinking—securing funding, finding space for meetings, recruiting students, and convincing the administration that the program should exist. I remember wondering whether anyone would even show up to the first meeting.
More than 100 students came. The room was standing-room only.
That first team went on to reach the national championships and was named Best New Team in the nation.
What’s especially meaningful now is that Mock Trial has continued to thrive long after I graduated. Seeing something you helped build endure for decades and impact generations of students is incredibly rewarding.
I also remember how supportive Professor Linda Fowler in the government department was. She helped us secure meeting space, advocated for the program in its early days, and became an important mentor.
That experience taught me an important lesson: sometimes having just one person who believes in what you’re trying to build can make all the difference. It also shaped how I think about storytelling—the most meaningful stories often begin with someone deciding to build something that didn’t exist before.