Meet Sadra Tehrani

Today we’d like to introduce you to Sadra Tehrani.

Hi Sadra, so excited to have you with us today. What can you tell us about your story?
Growing up as an only child in a quiet neighborhood in Mashhad, Iran, I spent most of my young years in solitude. But rather than feeling lonely, I found joy in crafting stories and building imaginary worlds. I’d conjure up make-believe scenarios and visualize myself going through them, then sketch the entire story as a sequence of illustrations. At the age of six, my parents gifted me a tape recorder, and from that moment on, I was completely enamored with it. I’d spend hours narrating stories and remixing snippets of music into my recordings. I also distinctly recall falling in love with Samin Baghtcheban’s compositions for children called “The Rainbow,” which featured illustrated stories that were almost surreal yet felt uncannily real. It was in these moments that my love for storytelling was truly sparked, and it’s a passion that has continued to burn brightly throughout my life.

As I grew up, video games became a significant part of my life, and I found myself getting lost in their virtual worlds. I became increasingly fascinated with the attention to detail in their spaces, environments, and visual elements that created a unique atmosphere for each game. Titles such as Silent Hill, Shadow of the Colossus, Hitman, Fallout, and Portal captured my imagination with their world design, and the accompanying soundtracks only added to the experience. At the time, I had no clue about the level of effort required to craft such vast and immersive stories and environments.

It was only when I watched Blade Runner with a friend that I realized my passion for visual storytelling could potentially lead to a fulfilling career. The movie was so immersive and palpable that it left a lasting impression on me, and I knew then that I wanted to create worlds like that for myself. I applied for NYU’s MFA in Production Design program and was fortunate enough to be granted admission with a scholarship. For three years, I honed my skills in a rigorous and intensive set of design studios, guided by the program’s exceptional faculty. I graduated in May 2022, secured my artist visa, and joined the union. Since then, I have had the privilege to work consistently on multiple films, TV series, and theater shows.

I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
My journey has been far from smooth. As an immigrant in the United States there were many moments of uncertainty and doubt that crept in along the way. I took a huge risk when I decided to leave my job as an architect in Connecticut to pursue set design at NYU. I had to let go of the security of my job and work visa. However, in the long run, it was an incredibly rewarding decision as I now love what I do and see a lot of myself in it.

As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I specialize in production design for film and TV, but I also enjoy doing concept art and set design for theater. I am particularly skilled at developing new worlds and immersive environments from my imagination. Although I have worked on numerous horror and sci-fi projects since graduating, I would not necessarily classify those genres as my sole focus. While I do appreciate the thrill and excitement of such stories, I am just as passionate about emotionally-driven period pieces or fantastical dramas.

Among the projects I’ve worked on, I’m particularly proud of my NYU thesis, “Fahrenheit 451.” I delved deep into the emotions at the heart of the story and visualized the chaos in the world of the story in a way that resonated with audiences. I’ve found that my best, most moving work comes when I become personally invested in the script. With Fahrenheit, it was easy to get into it because not only is it politically charged, but it also speaks to the universal struggle of questioning our own beliefs and rethinking what we’ve been taught to believe.

What matters most to you?
Having fun on the projects I work on! If I’m not enjoying what I’m doing, it becomes difficult to create engaging content. I try to approach each project with the idea of trying to not only understand the director’s vision but equally importantly, to identify my inner feelings that resonate with the work, so I can pull those emotions out and express them. I find that this approach not only makes the work more enjoyable for me, but also leads to better, more meaningful results in the end.

Contact Info:

• Website: www.sadratehrani.com
• Instagram: sadra__t
• Linkedin: https://www.linkedin.com/in/sadra-tehrani/ 

Image Credits
1 – In the Penal Colony – Sketch for an Opera Set 2 – Alien – Spaceship Concept 3 – Radiohead from the Basement – Freehand sketch 4 – “Montag’s Epiphany” from Fahrenheit 451 – Concept Sketch 5 – Alien & Spaceship Early Concept Sketches 6 – Set Photo from “Bluebird” (Short) – Photo by Marianne Gould 7 – Selected Storyboards for “Mask of the Red Death” by Edgar Allan Poe