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This interview was made possible by my friend and colleague Sophie – thank you for reading!
Filmmaker Shahana Khan has had an extremely successful career as a Visual Effects Supervisor. In addition to her extensive work in music videos, film, documentaries, and television, Shahana is behind several highly successful commercial campaigns. From Nike and Adidas to Coca-Cola and Verizon, Shahana has proved her insight in her craft throughout numerous projects. Her work on the opening titles for the final season of Game of Thrones was awarded an Emmy, and her music videos have been featured in Paper Magazine, Teen Vogue, Pitchfork, id-mag and Jezebel. For spots and branded content Shahana is signed to ArtClass, a next-gen production and post-production studio.
Most recently, Shahana directed the short film DRIP, starring model and actor Laith Ashley, one of the first transgender male models to appear in a national campaign. Shahana’s work in this short is visually stimulating, abstract and emotional. We spoke with Shahana about her experiences as a director, her approach to creating intimacy on the set of DRIP and her thoughts about the desert and the higher self.
You have had a very successful career as a VFX supervisor for film, TV, and campaigns. Can you speak on the transition from your prior work to now directing and other forms of filmmaking?
My degrees are in both Film Theory and Fine Art. While my background is not necessarily a traditional VFX background, I had a drive to work and a personal passion being an Angelino. I enjoy being technical, with much of my work involving both technology and robotics. VFX appealed to me initially, as it focuses on problem solving and is very visual-based. I was very fortunate to work with so many talented directors throughout the years that were coming out in the early 2000’s. It was basically a secondary education, working with the people that were and still are at the top of their game. It colored my approach to filmmaking—but I’ve ultimately always been a filmmaker. I’ve always created things, even as a visual effects artist. Eventually, it became clear to me that I needed to focus all of my energy on directing. To me, all parts of production are related. As both a VFX supervisor and director I am looking at the scene in the same way. I’m constantly having to consider what I’m trying to affect—’how do we affect this scene?’ ‘How should we make this feel?’ ‘How can we differentiate between the affectation of the scene and the literal space of it?’
You recently directed the original short film DRIP, which stars model and actor Laith Ashley. Can you tell us about your experience working with him on an intimate-feeling set? Was the relationship you fostered with him different from relationships from previous shoots?
Firstly, I created this concept with Laith specifically in mind. He’s such an icon. He was so on board with the idea of putting himself out there in this way. It takes a lot to be almost naked for eighteen hours in a day—obviously our shoot ran long (laughs). We emphasized Laith’s veins popping in order to achieve that ephemeral pumping sensation and physicality. We used a lot of infrared heat lamps. When Laith was off camera he was in a red room that was filled with heat pumping iron; he brought two fifty-pound weights with him, and was pumping to highlight his vascularity. We also had a makeup artist that was accentuating the veins by contouring them, almost like the way you contour your face. We were doing all of this and we were sweating bricks together, totally in admiration for the lengths that Laith was going through to achieve this physical effect.
DRIP feels highly contained with Laith occupying only a small space within a prism of light. The shots of his body are often closeups, which feature his sweaty, pulsating body accompanied by the sound of a heart, which beats over spoken work. Can you talk about these choices, and what the visual narrative elicits from you?
We shot this in a powder room, which was manipulated to look like an abyss or a jewel box. While you don’t know which one it truly is, there’s something very precious about the centering, and the pyramid, as well as both the strength and vulnerability of the pose that he’s in. With the writing, the journey we take starts with the lines “you hate me, don’t you?” And ends with “now that you love me.” It’s really that journey that begins where it ends—in a medium wide shot of him draped on a chair. What I wanted to do was create an intimate portrait that at the same time was reminiscent of a Chanel perfume ad. Through juxtapositions like this, I wanted to show the physicality of the relationship between you and your esoteric self.
In addition to the imagery you just described, DRIP also features a voice over, which is said in direct address. Our actor addresses “you.” Can you talk about who “you” is?
Is he talking to himself? Is he talking to us? It’s both, right? Because it always is. We always surround ourselves with mirrors and reflections of ourselves. To show this in DRIP, we mirrored the lattice work in the room Laith was in, it’s all mirrors. It’s always yourself—it’s the person you were, the person you are, the person you’re with, that’s the audience you’re addressing.
Your trademark style is visual narrative. How do you expect or hope audiences perceive your work, or does it matter to you?
Of course it matters. It always matters. But what matters most is to resonate with my audience. For me, I want it to resonate, but I want it to resonate strongly. So if that means resonating with less people, but resonating powerfully, I’m all for it. It’s about not being on trend, but being true to yourself. I think for me and Laith, we were coming from a very authentic place and I think that shows. But of course we care, he’s nearly naked! We’re trying to get you to watch, we’re trying to keep you tuned in.
Can you talk about the rock in your studio?
I was on the side of the road in Death Valley, and I was getting vertigo. I saw this rock and thought it was dope. I love the desert, and for me that rock represents the abyss that the desert is, the effect that it has for you to be able to project whatever you need onto it. You can literally go yell at the desert and it doesn’t give a shit. It provides a blank canvas for you to just exist in, and it forces you to look at yourself. That’s what that rock is—it’s everything and nothing, and it’s also about the materiality and energy of things. If something calls to you with that kind of energy you have to respond to it, that rock did that for me.
What’s next for you in your partnership with ArtClass?
ArtClass reps me, and we continue to work on short form and commercial projects. They are incredible. They funded DRIP, which was a project that I went to them with as something that I was passionate about doing, and they were very supportive of that drive. More stuff is on the horizon and I definitely have a few more projects along the lines of DRIP that are coming out in the near future as well.
Are you on social media? What’s the best way for audiences to engage with your work?
Well, the website’s coming soon. She’s a little behind (laughs). I have a lot of new work coming out soon, so I’m looking forward to blasting my website which is justshahana.com. I also go by @JustShahana on Instagram.
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Thank you for reading! Check out more of Shahana’s work with ArtClass.
