Neil Asks

PICK A BRAIN SERIES: ABTEEN BAGHERI

The world may never know what came first: the chicken or the egg, and frankly, who cares? But the priors of another age-old dichotomy are probably more practical and significant to figure out. That’s luck and good ‘ol fashioned hard work. However, luck is not measurably real. You cannot lose love handles by sitting atop your car waiting for shooting stars at night, and you can’t receive college credits by interning as someone’s rabbit’s foot. Luck is opportunity from fortunately aligned circumstances, but stagnantly waiting or even just passively leaving yourself open to it, is not how it happens. It’s the mindset to accept nothing but success and the commitment of time, energy, and humility to repeat the process over and over again – that precedes the good things that come with luck.

No one knows this better than director Abteen Bagheri. Having practiced filmmaking from 4th grade to the freshly adult age of twenty-three, he is the definition of focus. And it’s paid off. Abteen is responsible for one of the most iconic music videos of 2011, from one of the most talked about artists in recent years, not just in New York City, but throughout all corners of the hip-hop world. He’s at the same age as when most college graduates fall into the lull of unemployment and moving back in with their parents, and yet he’s already shown the promise to have a long and prosperous career in filmmaking and music video directing. SHHO recently had a chance to talk with Abteen Bagheri about his education, early success, and further glimpses into the traits it takes to bring yourself good luck.

Give us a rundown on the equipment you’re currently working with.

It all depends on the budget. On the lower end, I’m using Canon DSLR’s (5D mk ii for that full frame look, 60D). For that sharp, clean, cinematic look–RED cameras (Epic, Red One). For that creamy, soft look—ARRI Alexa (haven’t had the chance to work with this camera yet, but it’s on my radar as soon as the money’s available).

Do you remember your early experiences with hip-hop?

I remember my mom taking me to buy the uncensored Marshall Mathers LP in 5th grade. I also remember being a fan of Ma$e. And it’s embarrassing now, but I was pretty fond of Puff Daddy. I’m a big fan—I try to stay up on what’s new, not just for work purposes, but because I’m a lover of music. That’s not to say I only listen to hip-hop, nor do I plan to only make only hip-hop videos. I’m a fan of good music in every genre. Hip-hop wise right now I’m listening to A$AP and Milli Mars (of course), Kendrick Lamar, Main Attrakionz, Odd Future, Shabazz Palaces, Danny Brown, Doss the Artist, Drake, Rick Ross. I’ll throw on some Waka Flocka/Gucci Mane if I’m driving somewhere fast. I’m always returning to the legends—Jay-Z, Kanye, Eminem, Biggie, Tupac, De La Soul, etc.

How did the whole relationship with the ASAP crew come about?

I heard Purple Swag through a trusted friend (Galaan Dafa), so I hit up Chris Black (a great producer I met through my friend/director AG Rojas) and told him to try to get in touch. A few hours later, Chris called me and told me they already have a director for Peso but to send a treatment anyway. I sent in my treatment and they must have fired the other dude because a week later we were all in New York shooting the video. It was perfect timing, really. We caught onto something big before it happened and helped to propel A$AP to where they are now.

The great thing about the Peso video was its use of classic New York hip-hop imagery. What was the thought process behind directing the video?

The “Peso” shoot was a unique set of circumstances. They wanted a performance video, shot and edited in 5 days ,and I was with a small crew (myself, Chris Black, our DP Isaac Bauman) — all kids from LA — and I don’t think I’d ever traveled above 125th street in my previous trips to NY. Galaan — a friend from Stanford — was living in Harlem at the time and he was nice enough to act as general production assistant.

We were in a new place, stressed for time, so it was a lot of directing on the fly, which is new for me. We took cabs around the city and focused on unique, gritty locations. Rocky and the ASAP guys are such killer performers — it comes naturally to them — so I really trusted in their charisma to make the video work.

Because we traveled to their home, I wanted to remain authentic to their neighborhood and do something really visceral and intimate. I wanted it to feel dreamy, ethereal, and transport the audience to the streets of Harlem. It was about showing something as simple as rapping on your block in a unique light through the camera lens. I had years of watching 90’s hip-hop videos ingrained somewhere in my brain, so that certainly helped.

Can you describe the process you go through when you’re presented with a new project? How do you get in the right state of mind to do your best work?

When an artist sends me a song, I listen to it over and over again — at the gym, in my car, at home, with my friends. I try to get a discussion going with anyone I play the song for. Chris Black is great to work with as a producer in that he’s invested in both the creative and the business side. I present him with my ideas and he helps guide me in the right direction. It’s a collaborative process, and I want to make sure the producer I’m working with is on board not just financially, but creatively as well.

I cycle through a lot of found image blogs while listening to the song, looking for any hint of inspiration, and I work from there. Often times, when I pick a genre or idea, I watch as many related films as I can and grab screenshots for my treatments. I carry a notebook with me wherever I go. I try to fill it up with any ideas that pop up in my head.

Was directing music videos what you always wanted to do or do you want to also direct shorts and full length films?

I’ve always been interested in music videos because I love music. It’s very rewarding to work with artists that I like and help further their careers. I fell in love with the medium at an early age, watching over Director’s Series DVD’s of Michel Gondry, Jonathan Glazer, Spike Jonze, Chris Cunningham, and Mark Romanek.

With the instant distribution that the Internet provides, music videos are the most feasible way to get people to see your work. Everyone loves watching a good music video. I’ve done shorts in the past and I may return to them soon, but it’s certainly much harder to get someone to watch your short on YouTube. It’s difficult to get a million+ views with a short, especially with the dark, depressing shit I’m liable to make.

The buzz from “Peso” and “The Alarm” have brought me meetings with film producers and agents. My goal is to get signed to a production company for music videos and commercials this year and transition into writing and directing feature films.

Who were/are your guys in terms of filmmaking/directing that you’ve looked up to?

My bank of inspiration is always growing. Music videos/commercials: Keith Schofield, AG Rojas, early Hype Williams, Daniels, Romain Gavras, Dougal Wilson, David Wilson, So Me, Daniel Wolfe, Jonathan Glazer, Chris Milk, Patrick Daughters, Megaforce, Mark Romanek. Film: Paul Thomas Anderson, Jeff Nichols, The Coen Bros, Terrence Malick, Stanley Kubrick, Linsday Anderson, Werner Herzog, David Lynch, Abbas Kiarostami, Darius Mehrjui, Sofia Coppola, Jean-Luc Godard, Francois Truffaut, Darren Aronofsky, Jim Jarmusch, Nicolas Winding Refn, Spike Lee, Spike Jonze, Martin Scorsese, David O’ Russel, and others I’m probably forgetting.

What played into the decision to attend Stanford and was studying film originally the goal for college?

Stanford was actually the only non-film school I applied to out of high school. My goal had always been to study film, since it’s something I’ve been doing my whole life. I was looking at NYU, USC, and UCLA. I finished my last essay for the Stanford application minutes before it was due and my dad convinced me to hit send.

Once I got in, it was a no-brainer. The general consensus from anyone I had talked to in the industry was that film school is helpful but unnecessary. Being a director is about more than what’s taught in school—it’s about critical thinking, problem solving, collaboration, negotiation, trust, and other intangibles that don’t come with any school curriculum. For me, it was a decision to use Stanford as a shot to become well rounded intellectually. I studied English with a focus in Creative Writing in one of the best programs in the country, and I’m very grateful for that. I also tacked on a minor in film theory and took courses over a variety of disciplines from neuroscience to computer science.

Outside of academics, I was making films the entire time I was at Stanford through the Stanford Film Society and my network of friends. I had a chance to work with creative and talented students and build strong friendships and relationships that I believe will last long after college. I worked with Sam Pressman (director), Harley Adams (writer, actor), and Brooke DeVard Smith and Lila Shannon (stylists). These are all names I’m sure you’ll hear more of soon.

After graduating, I almost went to grad school for film but Keith Schofield, a director and friend I admire, put it best, “You can either pay a lot money to learn how to make films from people who aren’t making films, or you can work in the industry and get paid to learn from people who are making films.” That seemed simple enough.

How have you been able to build such a network and buzz around your work at such a young age and so soon out of school? 

I’ve been practicing filmmaking for a long time — making little shorts on a VHS camera since the 4th grade. I think with filmmaking — or with any art, for that matter — you need those trial and error years where you just produce utter shit. No one is going to come out with a hit on their first try. No one. It’s all about keeping at it — you get better with each project and the best way to learn is by doing. Once you’re comfortable and proud of the work you’re producing, stay on top of what’s new in music and plan to get there first. It’s also very important to have a good team behind you. Find those other friends — those interested in producing, camera-work, editing. Assemble a team and stick with it.

Can you describe a bit about the daily mindset of Abteen Bagheri at this point in his career? 

Video games, girls, storyboards, and cross-country flights sound right. Because I’m a freelance director there’s a lot of down time — time for watching more movies, TV shows, reading books, playing basketball, and hanging out with friends. A lot of people think I’m all business now — I’m just busy, finally. 

With that said, I’ll beat anyone at NHL ’12.

What positive/negative criticism do you have of your generation of photographers, filmmakers, music artists, and other creative minds?

Positives: I see a lot of young people out making videos, networking on Twitter, funding their projects through Kickstarter, making their work available on vimeo/youtube. This is all stuff that wouldn’t be possible 6 or 7 years ago. This goes for music as well.

Negatives: I see a lot of people graduating film school, starting their own production companies, and immediately trying to make a living producing videos. They often end up doing weird infomercial type vids to stay afloat. I’m like, “You really think that’s going to bring you more work?” Don’t get stuck making infomercials. Keep making what you want to make, even if there’s no money in it. The money will come.

Favorite music videos, films, and YouTube videos of 2011?

Favorite music videos: Tyler the Creator – “Yonkers” (Dir. Wolf Haley), Duck Sauce – “Big Bad Wolf” (Dir. Keith Schofleid), Metronomy “The Bay” (Dir. David Wilson), Is Tropical – “The Greeks” (Dir. Megaforce), Battles – “My Machines” (Dir. Daniels), Memory Tapes “Yes I Know” (Dir. Eric Epstein).

Favorite films: Tree of Life (Dir. Terrence Malick), Drive (Dir. Nicolas Winding Refn), Take Shelter (Dir. Jeff Nichols), Martha Marcy May Marlene (Dir. Sean Durkin), Melancholia (Dir. Lars Von Trier), The Girl with the Dragon Tattoo (Dir. David Fincher), Like Crazy (Dir. Drake Doremus) + I still have more to see.

Favorite YouTube vid: Probably one of the pepper spray videos from OWS — really shows the power of civilian reporting with cell phones and YouTube.

If I want to eat a good meal then go out and have a good time in LA, where should I go?
Do it in the reverse order. Have some stiff drinks at any bar in Hollywood on an empty stomach and then go grab some bacon wrapped danger dogs off the street. The mayo is crack.

For more information on Abteen, please visit his website.

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