Shadab Khan is an Indian filmmaker, writer and former model who has steadily built a reputation for bold, socially conscious storytelling in Hindi cinema and beyond. He is best known for directing B.A. Pass 2 (2017), Delhi 47 KM (2018), X or Y (2022) and the Indo-Canadian feature Rabia and Olivia (2023), which won over a dozen international awards and was ranked among the Top 30 Hollywood films of the year.
He has directed 18 premium vertical series for Rocket Reels. The filmmaker brought together a powerful lineup of actors including Sharib Hashmi, Gyanendra Tripathi, Saharsh Shukla and Mugdha Godse. He has also directed Sharad Malhotra, Ashmit Patel, Aakanksha Puri, Raayo S. Bakhirta, Rajneesh Duggal, Tarun Khanna and Nyra Banerjee.
Shadab Khan’s latest Vertical Format Series film – SILVER JUBILEE for Rocket Reels has evoked massive response from audiences. Sportingly, Shadab Khan consented to an exclusive interview with Paresh B Mehta, Editor of Filmytown.com. This interview virtually turned out to be a Master Class in filmmaking for the Vertical OTT Platforms:
Having done feature films before, what inspired you to create Vertical Episode Stories?
Cinema has always evolved with technology and audience behavior. From theatres to television, from television to OTT, and now from OTT to mobile-first storytelling. Every shift creates a new cinematic language. What fascinated me about Vertical Episode Stories was that they are not “smaller cinema”; they are simply cinema designed for the way modern audiences consume emotions today.
As a filmmaker, I was intrigued by the challenge of telling impactful stories within shorter durations while retaining cinematic depth. The vertical format demands precision, emotional immediacy, and a very intimate style of storytelling. That challenge inspired me.
Vertical Reels are almost like creating mini-cliffhangers..
How did you decide on the episodic format, and what makes it unique compared to traditional storytelling?
The episodic structure naturally complements the viewing habits of today’s audiences. People consume stories in fragments throughout the day, but emotionally they still want immersion and suspense. Vertical episodic storytelling combines both.
Unlike traditional feature films, where you have two or three hours to build emotions gradually, vertical episodes require every scene to contribute instantly. Every episode must end with emotional momentum — curiosity, conflict, revelation, or tension. It’s almost like creating mini-cliffhangers without compromising narrative integrity.
What makes it unique is its rhythm. It is fast yet emotionally layered.
Can you share the central themes you wanted audiences to take away from the series SILVER JUBILEE on Rocket Reels?
At its core, SILVER JUBILEE explores ambition, human vulnerability, relationships, illusion versus reality, and the emotional cost of chasing validation. I wanted audiences to feel emotionally connected to flawed characters navigating complicated situations. The show reflects how success, love, ego, and insecurity often coexist within the same person. Beyond entertainment, I wanted the audience to introspect about emotional truth in a world driven by appearances.
How different is the process of developing narrative arcs across episodes for Vertical Episode Stories compared to Feature Films?
The biggest difference is compression of emotion and narrative. In feature films, you can allow scenes to breathe longer. In vertical episodic storytelling, pacing becomes a science. Every episode must independently engage the viewer while simultaneously contributing to the larger story arc. Structurally, it demands sharper hooks, tighter scene construction, and very disciplined writing.
You are constantly balancing emotional continuity with audience retention. It is almost like designing a heartbeat — every few minutes the pulse must rise again.
How does one approach character development in short, vertical episodes?
Character development in this format relies heavily on emotional shorthand. A look, silence, gesture, or line delivery often replaces long exposition.
You cannot waste time explaining characters. You must reveal them through behavior almost immediately. That is why casting becomes extremely important in vertical storytelling. The actors need to communicate emotional history very quickly.
The audience today is emotionally intelligent. They understand subtext faster than before.
Vertical storytelling demands an entirely different visual architecture
Were there specific cinematography techniques you used to adapt to vertical storytelling — as regards writing, cinematography and editing?
Absolutely. Vertical storytelling demands an entirely different visual architecture. From a writing perspective, scenes are shorter and more emotionally direct. Dialogues become sharper because the format rewards immediacy.
In cinematography, compositions are designed vertically rather than horizontally. We focused extensively on close emotional framing, layered foregrounds, movement within depth, and dynamic camera transitions that suit mobile viewing. Editing also changes dramatically. The rhythm is quicker, but it cannot feel rushed. The cuts need to maintain emotional continuity while sustaining audience engagement every few seconds.
Vertical cinema is not about cropping horizontal content; it requires designing the visual language from scratch.
Mention about your association with Kranti Shanbhag, the CEO of Rocket Reels.
Kranti Shanbhag is someone who understands that innovation in storytelling requires courage. What I admire most about him is that he is not merely building content; he is building an ecosystem for a new generation of cinematic consumption. Rocket Reels has given filmmakers creative freedom while simultaneously pushing technical and narrative experimentation. That balance is rare.
Our association has been creatively fulfilling because there is mutual trust and a shared belief that Indian storytelling can evolve globally without losing its emotional core.
Vertical storytelling will become another powerful storytelling medium
Were there any memorable behind-the-scenes moments during filming SILVER JUBILEE?
There were many memorable moments because the energy on set was extremely passionate. Since vertical storytelling moves at a very fast pace, the team had to maintain high emotional concentration throughout the shoot.
One memorable aspect was how actors adapted to the intimacy of the vertical frame. In traditional cinema, performance energy often expands outward. Here, even the smallest expression became magnified. Watching actors recalibrate their craft for this format was fascinating. The collaborative spirit on set made the process creatively exciting.
What is your perception of audience response to vertical storytelling compared to traditional formats?
The audience response has been phenomenal and surprisingly emotional. Initially, many people assumed vertical content would only work as casual entertainment. But audiences are now accepting it as a legitimate cinematic experience. What matters to viewers is emotional engagement, not screen orientation. If the storytelling is compelling, audiences connect regardless of format.
In fact, vertical storytelling creates a very personal viewing experience because the content is literally held in the viewer’s hand.
Do you see Vertical Episode Stories as part of a larger trend in digital-first content?
Definitely. This is part of a much larger global evolution in storytelling. Younger audiences are mobile-native. Their relationship with screens, pacing, and emotional consumption is fundamentally different from previous generations. Vertical storytelling aligns naturally with that behavior.
I believe this format will coexist with traditional cinema rather than replace it. Just as theatre, OTT, and cinema coexist today, vertical storytelling will become another powerful storytelling medium.
Future belongs to filmmakers who are fearless enough to evolve
How do you see vertical-format storytelling evolving in the future?
I believe vertical storytelling is currently in its early creative phase, similar to how web series were initially perceived years ago. Over time, production values, performances, writing sophistication, and cinematic ambition will increase dramatically. We will witness larger-scale vertical thrillers, romances, psychological dramas, action narratives, and even international collaborations.
The future belongs to creators who can emotionally adapt storytelling to changing audience behavior without losing artistic integrity.
What advice would you give to young filmmakers experimenting with new formats?
Do not treat new formats as limitations; treat them as opportunities to reinvent cinematic language. Technology changes constantly, but emotional truth in storytelling remains timeless. Whether you are shooting for IMAX or mobile screens, audiences ultimately connect with authenticity, vulnerability, and strong characters.
Also, never imitate trends blindly. Understand why a format exists, what psychology drives its audience, and then create your own voice within it. The future of cinema will belong to filmmakers who are fearless enough to evolve.
– END-
The Osho Conspiracy: A ₹2,200 Crore Empire, Two Mysterious Deaths and a Faked Diagnosis
