Meet Raine Allen Miller, one of the newest additions to our database of signed directors! She is currently signed to Somesuch.
Her first music video for Salute’s track ‘Storm’ was inspired by Brexit and is a celebration of immigration and made her one of It’s Nice That’s ‘one-to-watch’. She’s since helmed projects for recording artist Georgia and Nike x Reposte.
Raine crafts intricate worlds around her subjects, using her background as an art director to balance setting and emotion. Her most recent video for Denai Moore’s ‘Trickle’ (above) built mythical surroundings to amplify the performance video to new heights.
Check out our interview with Raine below!
How did you first become interested in film & video?
I worked in advertising and saw these highly paid white men shouting at people and I thought “I could do that.”
The music video you directed for Salute’s ‘Storm’ really generated a lot of attention for your work. Can you shed some light on creating it, and what the response has been?
The response has been great. I was down on Britain at the time of making ‘Storm’- we had voted to leave the EU and I wanted to create a symbol for what is so great about Britain, that feeling manifested itself in the shape of a woman wearing a Union Jack wrapper dress. Both proud of her heritage and being British.
Your work was just featured in the exhibit ‘Visual Cultures: Decoding the Music Video’ at the ICA in London. Can you tell us a bit about the show?
It was set up by a collective called People of Colours – which is exactly what it says on the tin.
It is important to me that we not only celebrate female directors, but directors of all minorities, be it colour, class, sexuality or anything else. Trying to name 5 British directors of colour is tough at the moment, this needs to change. I am proud to be minority but I also want to be valued for my work, not just as a box ticker.
What’s it been like to work with Somesuch?
Amazing, it’s an incredibly supportive family. Not only from the team in the office, but also other directors, I’m constantly nagging and meeting for coffee with Dawn Shadforth, Daniel Wolfe and Kim Gehrig. I feel very honoured to be on this roster. I still can’t believe it really. It feels really lovely having people like Tim & Sally believing in me, and still taking time to read my weird film ideas even though they’re working on huge ads!
Would you say that your work has any hallmarks or recurring themes?
I am really interested in set design because I think you can tell a story with an environment. I also like to create worlds – taking normality into an abstract, symbolic place. I’m keen to get my ideas across fast and clear, something I picked up working in advertising as a creative.
I’m working on some dark comedy scripts at the moment which I can’t wait to shoot.
Why do you think it’s so important for companies to showcase more diverse directorial voices?
I don’t know about you, but I’m bored. I’m bored of the same story, the same voices. Particularly in advertising. I think different perspectives and experiences are valuable creatively. It’s not about box ticking, it will actually make the work better. An unheard voice is a new, fresh, original voice. We’re all hungry for interesting content – I don’t care who it’s from – but often the freshest most unique work comes from the people that are a minority, naturally, because there are less of them. So selfishly, not even about it generally feeling a little unfair (don’t get me started on that) that’s the work I personally want to see – we’re all desperate to see something we’ve never seen before, right? The creative industry are hungry for fresh, engaging, entertaining ideas and perspectives – and you get that when you have a diverse range of people coming up with them.
Do you have any advice for other women interested in careers behind the camera?
Hustle, blag, don’t take no for an answer, be yourself, embrace your naivety, believe in your vision, be nice to people, only work with nice people.