Val Tan is an LA-based director and producer originally from Singapore, with a diverse portfolio encompassing narrative films, documentaries, and commercials. Passionate about amplifying underrepresented voices, Val continuously hones her craft to create impactful stories. Her works have been showcased at prestigious festivals such as the Palm Springs International Film Festival, Seattle Children’s Festival, and LA Shorts. Val’s work is vibrant and enthusiastic, having chatted with her, a reflection of both her creative taste and personality!
You’re from Singapore! What has been your journey over to the States?
It started in high school! I left Singapore and came to New York to study at a boarding school. My older sister made her way to America first, loved her experience, and encouraged me to join her. I often look back and wonder why I was so brave to make a drastic life-changing decision at such a young age. But I’m forever grateful to my younger self. Going to boarding school set me on a path to pursue a career in the arts, and that experience has shaped my approach to storytelling and filmmaking.
What has been your favorite project thus far to direct?
Right now it’s “Dancing In A Forbidden World“. It was a short film that I made that was set in San Francisco in the 1950s about the female dancers in Asian Night Clubs. I’ve always loved period pieces, specifically the period of the 50s and 60s. Everything from the zoot suits to the swing dresses, the music, and just the energy. It’s always been something I wanted to bring to life on screen. The short film was a daunting project, but as a history buff, it was a thrilling challenge. I got to film dance sequences and create an immersive world. The goal of uplifting historical Asian entertainers who have been overlooked was also something I deeply cared about.
Besides narrative shorts, you’ve gotten to direct some high-profile work such as doing the new campaign for Popsocket. How was that experience?
A completely different challenge but just as rewarding. Directing a commercial requires a different mindset compared to a narrative film. Commercials are very technical, with every shot and frame needing to be picture-perfect. The product’s place in a frame can be so crucial, and you often have clients on set with you watching the monitor and ensuring everything represents the brand well. We had maybe forty different Popsockets to shoot, and half of the challenge was just organizing it all and ensuring we had the shots that showcased each one. Big shoutout to the art team who at the end of the shoot probably had every single Popsocket memorized! I love directing commercials because I get to exercise my creative thinking within the context of an established brand. It’s a fun exercise to think about a product and use all your energy to find creative, innovative, and unexpected ways to shoot it and tell a story visually. Commercials allow me to test and improve my technical skills across various departments, I always see them as a chance to push my limits as far as I can.
How did you get into commercial directing?
It started from a love of the craft. I was doing a lot of narrative shorts, whether it was directing or producing them, and I found myself lacking in various aspects. As I continued my journey in the film industry, I saw filmmaking as a craft and a muscle that needed constant exercise. Commercials provide the best means to do so, there are consistent tight turnarounds and it often feels like a crash course in all areas of filmmaking. I’m often pitching, prepping, and in post for multiple projects simultaneously. I have a deep love for it, I feel unencumbered and able to push my own aesthetic and visual boundaries. In contrast, my narrative work tends to be more grounded.
Let’s talk about producing. What has been a challenging project to produce thus far?
Every project is probably the accurate answer. But I will talk specifically about “Bleed, Don’t Die”. That was a short film directed by Vitória Vasconcellos, about two sisters who confront old wounds on the eve of the apocalypse. It’s a beautiful story at its core about sisterhood and trauma but set in this dystopic yet magical setting. We shot in the Los Angeles National Forest, and any time you have to plan for accommodation on a tight independent short film budget, that’s always difficult logistically. It was also the first time I produced a project where the director was also the lead cast member. I wasn’t sure what to expect, but Vic made the project so memorable. She’s someone who leads by example and inspires the crew through her sheer presence and work ethic.
What is your strength as a filmmaker?
I love that we discussed both my directing and producing work because I think that is part of where my strength lies as a filmmaker. I think it’s crucial to consider the feasibility of how to make something, and embrace limitations rather than fearing them. I think some of my most creative decisions have happened when things had to pivot from the initial plan. As a filmmaker, adaptability and resourcefulness are key strengths that enable me to turn challenges into opportunities to think outside the box.
Are you working on any new projects right now?
Always! I’m preparing for several upcoming commercial shoots that I’m excited about. On the narrative side of things, I’m working on a new feature film script. I also have a pilot script that was the inspiration for the short “Dancing In A Forbidden World” that I continue to refine and put out into the world. Balancing multiple projects keeps my creative energy flowing and I always welcome more!
