|Sheelin Choksey|
Sheelin. We met while both working at Shephard/Robin Prods. I was an executive at the time and he came in as Mike Robin’s assistant. He was kind, funny, soft spoken and always ready to help. Following in Mike’s footsteps, Sheelin worked his way up the production ladder with an eye on directing. Several years in, he finally got his shot and no surprise, proved himself time and time again within the company.
I pride myself on being able to spot talent and even then I knew he’d be one who would shine brightly one day. Others are now following suit and recognizing his gifts. (And yes, I know… easy to say now!)
Clearly his time has come and he was kind (yet again) to take time out – to share some tidbits – from shooting in Atlanta, overseeing a (Greg) Berlanti show.
RS: Who gave you your first shot at directing? Were you ready?
SC: Michael Robin, who was the Executive Producer/Director of THE CLOSER gave me my first shot. I was ready because I had spent so much time in the editing room (due to my post production experience). I had also shot a few short films — it’s good to stay ready for when those bigger directing opportunities come along, which is a complete mental and physical workout.
RS: What most about your own life has shaped you as a director?
SC: I think my desire to listen. I find people fascinating and I naturally listen more than I talk — I think that’s maybe my best quality as a director — to listen to various opinions and then choose the right course of action to tell the story.
My best quality as a director is I find people fascinating and I naturally listen more than I talk.
RS: When it comes to Diversity, we’re finally taking a small turn for the better, but roles in front of and behind the camera (in both TV and in Film) are still playing catch up as far as truly mirroring real life diversity. In your opinion, is there anything that isn’t being discussed?
SC: Personally, I think the door had to be knocked off its hinges to make any real changes, and I believe that has happened. Diversity is a concept that is here to stay, and that’s a good thing, but I feel we need to let it evolve on its own — in its own natural way or there could be a needless pendulum shift in the other direction. The good news is we are headed in the right direction and I think we’ll be there in a couple of years.
RS: What has been the hardest to overcome for you in our industry?
SC: You have to have a thick skin — or at least you did when I came up. Don’t let your ego get in the way of story. In other words, story is king and everything else solves itself. Be a nice person and chase the best way to tell the story in the most effective way possible.
RS: What are some mistakes you’ve made along the way? Not in a general sense, I’d love to hear specifics.
SC: I’ve listened to others TOO much in the past. I took folk’s (especially higher ups thoughts/comments/criticisms) too personally and too literally sometimes. I’ve sat in tone meetings and listened to what the writer wanted and took each word as gospel. Art cannot be interpreted like refrigerator repair instructions. And yes, even when they were presented that way — you must resist taking notes literally.
You must resist taking notes literally. It must be your interpretation of the story.
You have to translate those notes through your brain and tell the story as you see it. For instance, the first time an actor asks a question that you and the writer didn’t discuss in the tone meeting, you will not know what to say. Never forget that once you’re on the floor shooting, you as the director are the lead storyteller. It MUST be YOUR interpretation of the story or you will second guess yourself into the nut house.
RS: As a director, what do you look for in a script?
SC: I always look for what the writer is painting on the page. I look for strong vivid images, whether they are on the page or inferred. Sometimes they are there, but sometimes you have to mine for them. In the end, this is a visual medium and that can’t be ignored on a script level.
RS: Do you have any pet peeves when it comes to the script? That a writer should be mindful of?
SC: I like when a script is clear, but not literal. For example, I don’t need to see, “We start TIGHT on a basketball and then slowly start to CRANE away and then DOLLY across to reveal a full court game in progress.” This is a limiting way to express the shot that the writer sees in their head. Be careful because it will limit the thought of a lot of great filmmakers you have working for you.
RS: What makes a great character?
SC: They need to be proactive, NEVER reactive. And I also think (in some way) they need to be the smartest person in the room. Not necessarily in IQ, but some aspect of their emotional intelligence must separate them from the others.
A great character needs to be proactive, NEVER reactive.
RS: How much do you rely on the writer (on set) when directing?
SC: I love when the writer gets me out of a jam with actors. I need them to sometimes clarify the tone of a story point as they have lived with it in the writer’s room for months. They can speak to intent more than I can because they have more information. Also, from the writer, I sometimes need validation that I’m going in the right direction and (although seldom) I need them to push me in another direction. They need to be judicious and careful with that most of the time.
RS: What’s your favorite part of directing? Working with the actors? Setting up a challenging shot? Problem solving?
SC: There’s nothing better to me than being in a scout van and prepping an upcoming episode with my filmmaking partners (DP, Production Designer, Line Producer, Gaffer, etc.).
There’s nothing better to me than being in a scout van. That’s when so many creative decisions are curated.
We go from location to location to pick what we need to tell the story, but the real magic happens inside the van. That’s when so many creative decisions are curated — these other skilled filmmakers never cease to amaze me and they make my work so much more textured than if it was JUST me. For me, the scout van is literally a think tank.
RS: Is there a specific genre you’re drawn to?
SC: I grew up a Twilight Zone junky. I love stripped down fantasy/sci-fi like Close Encounters of the Third Kind. That’s right in my wheelhouse. Something more recent might be Man in the High Castle. Another part of me loves the crime genre. Good directing is good directing and a good director can tell stories in all genres.
RS: Last question. What won’t we find in your bio that might surprise us about you?
SC: I find being on set directing is the greatest escape on earth. I lose myself in the work and in the people and nothing exists beyond those stage doors. It’s the most therapeutic part of my life.
You know what was therapeutic? This time with Sheelin!
For more like this one, try: https://rebecca-stay.com/order-up-the-fabulous-lauren-iungerich
Bio:
Sheelin Choksey is currently a CO-EP on the CW’s STARGIRL. Sheelin was a Co-Executive Producer on the sixth season of TNT’S hit series, MAJOR CRIMES. Prior to his promotion to Co-Executive Producer, Sheelin was the Producer/Director on seasons 1-5 and directed fourteen episodes throughout his tenure on the series. Predominantly working within the Shephard/Robin Co., Sheelin began his career producing (and directing 2nd unit) on THE CLOSER. Sheelin’s natural ease with both the actors and camera quickly landed him two directing assignments on THE CLOSER.
