Interview with Shabier Kirchner

Antiguan-born Shabier Kirchner is certainly no stranger to the film industry. Having grown up with his film producer and cameraman father, Bert, (also the owner of Antigua’s famed Papa Zouk Rum Shop), he has paved his own way in the world of cinematography. Working on the award-winning Small Axe series of films under the helm of Oscar-winning director Steve McQueen, he has already won best cinematography awards in both the New York Film Critics Circle Awards and the Los Angeles Film Critics Association. He has also received a nomination in this year’s prestigious BAFTA TV awards. His next major project will see him in the director’s chair for an adaptation of Kei Miller’s book, which takes place in the eponymous but fictional village Augustown in Jamaica during the 1980s. The Citizen caught up with Shabier during one of his visits back to the twin islands to find out more about his incredible journey and how his heritage is the engine that drives him.

Shabier Kirchner

You were surrounded by the film industry growing up. What made you choose cinematography?

At school, I had undiagnosed dyslexia, ADD and was also bad with numbers, so I felt confused as to why it was difficult for me to grasp onto something and recommunicate it. Then I was introduced to the camera and images through my father and a Dutch commercials filmmaker who came and held a workshop about how to make a promo of our school. I remember being absolutely obsessed with it. Everyone else in my class had maths or literature and suddenly I had images. From then on, I just ran with it. I was extremely fortunate that my family was supportive of my dreams. At that time, I had no idea what a cinematographer or a director was, I just knew that the camera was the tool with which I could best communicate how I was feeling.

Cinematographers are the second most important crew member in a movie but are often overlooked. Do you feel that they deserve as much recognition as the more visible actors and director?

Some cinematographers believe - and I share this opinion - that the less a viewer is conscious of the camera when watching a film the better, so that they aren’t pulled out of whatever story or environment they’re in. For that reason, maybe it’s good that some cinematographers take a back seat. It is better to show not tell. The relationship between the director and the director of photography (DP) is incredibly important. It’s co-authorship at its best. But many other members of the crew are also the authors – the production design team, the wardrobe team and so on. The director is the Mozart of the film, but Mozart is nothing if there are no instrumentalists. When I talk about wanting to direct or being behind the camera as a cinematographer, I don’t see much difference between these tasks – they are both avenues in storytelling. That was how it was growing up in Antigua; some days I would shoot, some days I would edit, some days I would do sound and other days I would be running around painting walls and moving tables.

How did working with Steve McQueen on Small Axe come about?

His usual cinematographer, Sean Bobbitt, was unavailable to do the project and while they were looking for a new cinematographer, my name somehow came up, probably because they were looking for a West Indian cinematographer. Although there are many of us out there, I’m not sure how much light there is shined on us - but I was so grateful that somehow the light got shone on me. Sean said that he wanted to put me in contact with Steve McQueen for the project he was doing about the West Indian community in London in a certain timeframe. I thought, “Wow - someone is actually doing this – and it’s Steve McQueen!”. Being a young, black DP and upcoming artist, there aren’t many north stars out there. Steve is one of them and he is shining very brightly. I was in shock. And just a couple of weeks later, I found myself fully immersed in the project in London and getting to grips with the fact that I was working with such an important director, when up until this point the only films I had made were with my friends! Aside from the monumental size of the project to make five films in half a year on a very slim budget, we had to give each one a very specific identity. The homogenous thing about this project is the Black experience, but each film has its own life and identity. It was difficult to wrap my head around the concept that this project was giving me a huge opportunity to chip off a large part of my creative soul and wave my national flag. It was scary as I realised what a firsttime opportunity this was for us not only as filmmakers but also for the West Indian community around the world to be recognised on this level.

Steve took 11 years to get Small Axe off the ground. The year after we pulled it off, the whole world stopped. As everyone was at home when it came on television, a lot of people got to watch it. This happened right at the time of George Floyd’s death when so many people were forced to have uncomfortable conversations with their family, colleagues and peers. Small Axe has a very special place in 2020, Obviously, the universe had its plans.

How does it feel winning such prestigious awards for your work on Small Axe?

I’m happy that people are seeing the films. It is important because there are a lot of conversations that people need to have with themselves and with the institutions around them. It’s a crusade that needs to happen. I try not to think about the accolades too much, but if they shine a light on the films a bit more, it means another handful of people get to see them and for that I’m very grateful.

Your new project as director, Augustown, also focuses on life in a Caribbean community – how important is it for you to talk about your culture and heritage in your work?

It’s very important - my culture is all I have. I never really set out to be a director per se, I just like stories, especially those in which I see myself represented and where people from my community are underrepresented. I’m in a privileged enough position to bring these stories to the forefront with the help of producers and people like Steve. So, why would I waste that opportunity? I was never planning to do Augustown, but I saw so much of us as a universal people in that book, with the struggles that we have gone through and the joys that we share. I thought,” Wow - you can strip the name Augustown away and place it anywhere in the islands and the essence of it would be the same.” Globalisation is changing things and I would love to archive some of our stories and history. And Augustown seems like a great place to start.

What do you miss about Antigua when you’re away?

I live between London, New York and the Caribbean depending on where my work takes me, but I am finding myself increasingly drawn to being based out of Antigua. I’ve been here for a while now, so it is hard to remember what you miss when you’re here. That’s why going away is so great; you grow a longer lens of nostalgia. I start to miss home the most when I encounter West Indians around the world. I might be in the park and there are a bunch of West Indians cooking up in the corner and it’s beautiful to see.

What is your favourite spot in Antigua?

Papa Zouk’s for sure! It’s a little hole in the wall – good food, good drinks, good chats. I miss it the most. I grew up around Falmouth Harbour so that’s the area where I have very specific memories. The other day, I thought about how Antigua is changing, and it made me sad. But then as I walked down Galleon Beach and Pigeon Beach, I could see the same rocks that have been there since I was a kid. The rock isn’t changing, it’s me that is changing. It was a small but beautiful realisation.

When I talk about wanting to direct or being behind the camera as a cinematographer, I don’t see much difference between these tasks – they are both avenues in storytelling.

What would be your dream project?

Augustown is certainly a dream project, but I don’t have a singular dream. I would love to do a Star Wars film – I’d love to be the first Caribbean person to go to a galaxy far far away! I don’t want to limit the reach on anything. I would also love to do something for MoMA or for the Tate. Hopefully, this life is long, and I can do it all and bring people along with me.

Is there anything you want to add?

Our industry needs to be more inclusive in the way we hire crews and to allow us to be able to tell our own stories. I know tons of people like me that are out there, and it needs to be easier to find us. There are a few platforms for people of colour behind the camera such as Sporas, a non-profit organisation aimed at uplifting and supporting Black, indigenous and people of colour who work as cinematographers or crew members around the world. There is also ARRAY, which is a film collective dedicated to the amplification of images by people of colour and women directors of all kinds.

To find out more about these platforms: www.sporas.com and www.arraynow.com