Check Out Shakha Benbow’s Story

Today we’d like to introduce you to Shakha Benbow

Hi Shakha, so excited to have you with us today. What can you tell us about your story?
After graduating high school, I applied for USC’s undergraduate animation program. After being denied, I attended Missouri State University, majoring in their animation program. Once I finished my third semester, it was time to apply for entry into their animation program, but I chose to enter their Mass Media and Film Production program instead.

For the rest of my undergraduate days, I worked on countless student short films in various roles, from director to DP to editor. I was also involved in several award-winning projects in collegial festivals and competitions. My last project, Zero, was a feature-length documentary film I directed. It followed a trying season for Springfield, MO’s Central High School basketball team.

After undergrad, I continued to work on passion projects here and there when I could while also working on commercial gigs. Eventually, in 2021, I was accepted into Missouri State’s MFA in Dramatic Writing program, specifically focused on screenwriting. During this time, I also caught a few breaks as an assistant/junior editor, being able to work on gigs for VICE, White Claw, YWCA, and more. During this time, I also produced and/or edited a few award-winning shorts. Having just completed grad school, I’m looking forward to working more commercial/documentary gigs as I try to transition into paid screenwriting and directing work.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
It hasn’t been a smooth road. There aren’t many paid narrative opportunities for filmmakers starting in Kansas City. Others and I have had to self-fund projects to gain the experience and credibility needed to justify getting hired. This includes fundraising, borrowing, and begging to afford things such as equipment, locations, food for crew and cast, etc.

Another big issue was experiencing the pandemic straight out of undergrad. Film and media were seen as excess to many businesses (understandably). For filmmakers and commercial editors starting out, it was tough to find work. During this period, I was forced to work odd jobs (like security in the Chiefs parking lot lol).

A more recent hurdle has been completing my graduate writing program, working as a graduate teaching assistant (teaching the lab portion of undergrad film classes), and working full-time as an editor/assistant editor (depending on the gig). This was also when my commercial and documentary editing gigs took off. If we were currently on a commercial assignment, my days/nights would get crazy. There were weeks I’d spend 40 hours editing, 30-35 hours writing, and 10-15 hours teaching/grading. I learned a lot during this period, but I also suffered physically from writing/editing on the computer for that many hours a week for stretches.

Appreciate you sharing that. What else should we know about what you do?
Editing, whether commercial, documentary, or narrative, pays the bills. Even when the gig isn’t explicitly narrative-based, I always try to craft a story.

My screenwriting and editing go hand in hand. I enjoy complex stories that use devices such as metaphor, foreshadowing, flashbacks, etc., to build tension while also adding meaning below the surface. As a screenwriter, I mostly deal with complex subject matters such as adolescent violence, race and identity, government corruption, and more in the thriller genre.

My goal is always to entertain while slipping in meaning and substance as much as possible through creative measures. As an editor, especially in narrative and documentary work, I love to sound design, color grade, and take risks with VFX, all in the initial rough cut. This serves to set tones and create meaning. Even with the dialogue on mute, you should be able to feel something. I take pride in being an editor who looks to add value to a project. I very much dislike the glorified button pushers out there. I believe it should be a collaborative process in which you’re still trying to craft/enhance the story until the final delivery is sent.

I spent a lot of time in the world of fine arts as a high schooler and young undergraduate student (hence why I initially sought out animation programs). I freelanced as a graphic designer through undergrad. And my dad is an English teacher who was big on teaching me how to write at home outside of school. I don’t know; somehow, I feel as if those three things have shaped how I approach filmmaking to this day.

Is there anything else you’d like to share with our readers?
From a technical perspective, Moonlight (2016) is my favorite film. Every aspect, including the writing, acting, camera work, visuals, and sound, creates a pathway into the main character’s world. From there, we can experience the story intensely from an emotional standpoint.

Inception (2010) was the film that made me consider becoming a filmmaker. The complex nature of the story and the mind-bending visuals fascinated me.

I don’t know if I’d even say they’re my “favorite filmmakers,” but Barry Jenkins and Christopher Nolan are probably my biggest inspirations in filmmaking. I crave narrative harmony and complex storytelling, and it’s always fun to work on projects that satisfy that need.

Contact Info:

• Website: https://sbenbow21.myportfolio.com/home
• Instagram: https://www.instagram.com/shakbe94?igsh=aXI3MHU3ZzVmbjdw&utm_source=qr