Ahmed Best

Ahmed is a director, executive producer, actor, writer, producer, educator, and futurist. Telly, GLAAD, Ovation, Stage Raw and Annie award winner. Ahmed plays Jedi Master Kelleran Beq in The Mandalorian, Jar Jar Binks(the first CGI main character in movie history) in the Star Wars Prequels, and starred in the Broadway musical Stomp. Director of South of Midnight (Compulsion Games/XBOX.) Producer and star of Jedi Temple Challenge (Lucasfilm.) Co-Founder of the AfroRithm Futures Group and host of The Afrofuturist Podcast. He’s a Senior Fellow at USC’s Annenberg School for Journalism and Communication, Professor at USC School of Dramatic Arts, and Stanford’s Hasso Plattner Institute of design.

As a director, how do you balance staying true to your vision while collaborating with many creative voices on set?

Directing for me is truly collaborative. The ability to take in all the ideas and create a cohesive vision across departments is what I find exciting about the work. I've played every position in production so being able to communicate vision in a language that all departments understand is the magic of directing.

What is your ritual as a Creative – from ideation to final result?

I really focus in on the emotions behind the words in every project. I love to amplify the subtext of the story and use that as the GPS to brining the story to life.

What are some of the golden rules you follow as a surefire method to deliver a compelling project?

A big rule for me is to create the coolest playground for everyone to play in. That requires enough room for everyone to be great. I always say the best ideas win. Sometimes the wardrobe artist has a great idea that makes the scene. A golden rule is to create an environment where everyone has a voice.

What was your most challenging scene to film, and how did you overcome it?

In a recent video game, I had to direct six actors, two of whom were transforming from human to monsters, and fighting each other while falling off a 100 ft. cliff. In a finite volume space with mocap suits and head cameras, the action was challenging. I divided the studio into three spaces, built a ramp for the cliff and divided the scene into three pieces to cover all the sections. With a great crew, some well placed eye-lines and crash pads, we made it work.

How do you balance delivering a high-quality output with meeting tight deadlines?

I usually measure twice and cut once. I like to have a very well detailed plan before the shoot. I also make sure all those involved really understand the plan before the shoot as well. I have experience directing in a lot of different mediums which helps with navigating any last minute unknowns.

Every Creative has their style but it can be difficult to bring that style to different projects with different clients, all with their own styles. How do you bring the two together?

The story is always the goal. Regardless of what I believe the style is or should be, the compromise usually presents itself if we are true to the story.

Can you discuss a time when you had to manage multiple projects simultaneously? How did you ensure each project received the attention it needed without compromising on quality?

Managing many projects is normal for me. The nature of the performing arts is one that usually requires managing multiple projects. I've learned to be honest about time management and realistic about meeting outcomes without sacrificing quality.

How do you stay current with design trends while ensuring your work remains unique and aligned with your brand or client’s identity?

I've always kept my ear to the streets when it came to staying current, but point of view has always been my guide to being unique. The ability to craft a point of view between myself and the client has kept me aligned when it comes to creative identity.