Rraine Hanson on Mixed Media, Art Department, and Making “Transcend” in Jamaica
Guest: Rraine Hanson
Titles: Filmmaker (experimental / mixed media); Art Department / Production Design (IATSE)
Episode Theme: Defying boxes—how mixed media + world-building skills become a storytelling language for Black queer and trans creatives.
Why this matters right now: As budgets tighten and the industry recalibrates post-strikes, Rraine lays out the real labor behind art department, why experimental work needs context (not gatekeeping), and why shooting Transcend in Jamaica isn’t a “nice-to-have”—it’s the point.
Rraine Hanson grew up in Kingston, Jamaica, then moved to the U.S. at 16 and found filmmaking through film school—first through writing, then through the hands-on reality of set life. In this conversation, Rraine breaks down what “experimental” actually means (and why it’s a moving target), how mixed media becomes a strategy, and how their short Transcend creates a Jamaican story where queerness isn’t the conflict—grief and love are.
What we talk about
Project spotlight: Mooncake — VFX + Practical Builds (00:07:30)
Art Department 101: What the Job Really Demands (00:09:20)
How to Watch Experimental Work (00:14:54)
Project Spotlight: Transcend: a Jamaican father and a Gender-Expansive Child (00:19:00)
Why Jamaica is Non-Negotiable for the Film’s Authenticity (00:20:27)
Why you’ll want to listen
A clean definition of “experimental” that doesn’t act superior about it (00:14:54)
Real talk on art department being undervalued—and still doing the most (00:28:10)
Practical budgeting ingenuity: how Mooncake built worlds without “Hollywood money” (00:07:30)
A filmmaking leadership gem: stop wearing every hat—you’ll tank your own project (00:34:10)
Set-life cheat codes: “10-1,” “greeking,” and “aging” for realism + clearance (00:30:55)
About the guest
Rraine Hanson is a Jamaica-born filmmaker and mixed-media storyteller whose work explores identity, memory, and emotional truth through layered cinematic forms. Alongside their directing work, Rraine builds worlds from the inside as an art department professional (including union experience), bringing a design-forward, hands-on approach to every set they touch.
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Watch the full episode on YouTube @TruJuLoMedia.
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Introduction
Fanshen Cox [00:00:00]: Welcome back to season 7. I can't even believe every, every time I say it, this is season 7. You know how— you know what that means? We started in the pandemic and here we are. So welcome back to season 7 of the Sista Brunch Podcast. We're the podcast all about Black women and Black gender expansive people who are thriving in entertainment, media, film, TV, all of the above. And today's guest is no different. I'm so thrilled to have this guest on. When he's not experimenting with his own storytelling, he works on other productions, helping art departments build a myriad of different worlds. And you know, maybe he gonna help us out here on Sista Brunch at some point. Welcome, Rraine Hanson.
Rraine Hanson [00:00:45]: Thank you so much for having me.
Fanshen Cox [00:00:46]: We're so, so thrilled to have you, truly. So we met recently at Black Indie Ignite. We got a shout out to Shuna Spencer, who has also been a guest on the podcast. Incredible. , and founded Kweli TV. So we're also hoping that maybe you will end up getting some distribution on Kweli. It's good to plant those seeds. , yeah, but we met there and then, and then you came to our Sista Brunch Season 7, uh, kickoff event and celebration. , and, and you know how the algorithm works is like, as soon as we met, I was on TikTok and who do I see but Rraine? And I just became really impressed with you and excited to hear about your story and share your story. So I'm gonna ask you to share your story, go back as far as you'd like to go back. You know, certainly life in Jamaica, being a storyteller, being trans in Jamaica, and, and as far as you wanna take us back and kind of key elements in your story. Okay.
Rraine’s Origin Story
Rraine Hanson [00:01:50]: Well, I would say, , I grew up in Kingston, Jamaica, so that's where I'm coming from. I feel like I've always known I was creative, loved creative writing, English. And I just always think having, you know, worlds in my mind but it wasn't until after I moved to the States and, you know, I was thinking about what would I want to study in school? And I was like, oh, maybe I could try writing for, you know, the screen. And, you know, went to film school on a whim and luckily loved it the more that I learned about it.
Fanshen Cox [00:02:22]: Where'd you— so, what were the seeds that were planted for you in Jamaica around filmmaking? And then How old were you when you came to the States and what school did you go to?
Rraine Hanson [00:02:33]: Okay, , I was 16, I was 16 and I moved to the States, , back in 2012. And then I went to Emerson College, that's where I went to film school.
Fanshen Cox[00:02:43]: Yes, okay, okay. And did you do— was in Boston then? Yep. And then you did— you do like the time, uh, cuz Emerson has a
Rraine Hanson [00:02:51]: campus— I did the LA program, so— okay, I did my last semester out here. And yeah, I think, you know, I feel like growing up in Jamaica, I really honed in on my listening skills. I think that being an artist really requires deep listening. And so I've always been very connected to nature, , the ocean, and just really like, you know, uh, inspired by what was in my environment. And so I think I, you know, have carried that through to, you know, Boston, back here to LA.
Fanshen Cox [00:03:31]: Just thinking about key elements. I mean, I guess I even want to know in Jamaica, like, what were— were there— did you have favorite films? Did you— or was it that you didn't see the things you wanted to see and that's what kind of inspired you?
Rraine Hanson [00:03:50]: I think, you know, I was watching and consing media at like, you know, the rate of someone growing up like with a computer— a computer access. But I think my, you know, what kind of inspired the kind of work I make now was being in film school and seeing, you know, films outside of the mainstream. You know, whether like purely experimental or just like, you know, the field footage from like Zora Neale Hurston's work, like not, not even knowing she was a filmmaker, like things like that. Like I had to, you know, go to— I feel, you know, people always ask like, is film school worth it? Da da da. And I feel like the most invaluable thing for me outside of the people I met was like getting exposed to films that are really just not are, are hard to find for the most part. Mhm. , and I think that has really— that really spoke to the kind of work I want to make, you know. Like, I love, you know, a good rom-com like everyone else.
Fanshen Cox [00:04:56]: What's your favorite?
Rraine Hanson [00:04:59]: 10 Things I Hate About You. Okay, I really like that one. , I mean, there's others, but yes. And I, you know, I think I am drawn to cinema for the ability to show us something that's not just in our everyday world and kind of like really leaning into, you know, the art space of storytelling and just all the, you know, crafting the story through our lens. And that usually leans, you know, a bit more surreal and just, you know, utilizing like just really dreams. And like I said, that same deep listening of just like really kind of letting the story you know, you're almost like a vessel for the story at that point, and it just kind of comes through you. And, you know, just wanting to make work that, you know, spoke to me as a person who is queer, coming from the Caribbean, is now in the States, you know, has been exposed to like the, you know, mainstream Hollywood production life, but also, you know, the, me perhaps lesser-known , kinds of films.
Fanshen Cox [00:06:03]: You can't just say that. You go like, what, like which ones? , oof. And you said the— you said the lesser knowns.
Rraine Hanson [00:06:13]: Well, so the first I'm going to say is, is definitely pretty known, especially in the States. But I'm thinking of someone like Marlon Riggs. Like, when I saw his work for the first time, I was really, really like, I think, forever changed, impacted by just seeing someone blend like like different art forms together. I'm definitely very interested in like just almost like blurring the lines between genres. And, and I think that's why experimental feels like a safe, like, brella term for the work I make.
Fanshen Cox [00:06:42]: But so kind of because you do mixed media, right? And actually, let's even talk about what that means, what that looks like in your work. But, but your point is kind of you, you like the kind of storytelling that mixes a lot of different things.
Rraine Hanson [00:06:57]: I'm very drawn to like layers and just like, you know, kind of putting everything together. I guess I'm not like a purist in that sense. So that can look like me using film and digital in the same project, which, you know, as soon as you do that, people are like, well, like, why are you mixing the two? Like, pick one or having like 2D animation or having VFX with the analog you know, physical film, like merging the practical and the, you know, more modern Did
Fanshen Cox [00:07:27]: you do that in Mooncake?
Rraine Hanson [00:07:28]: Yes.
Fanshen Cox [00:07:29]: Tell us about it.
Project Spotlight: “Mooncake”
Rraine Hanson [00:07:30]: What, yeah, Mooncake was actually my first time working in VFX, and I feel like, again, it really opened up my mind to the possibility. You can do so— you can really pretty much anything with VFX if you have enough money and time, as I learned. But I think with Mooncake, it, it truly was an experience in the sense of, like, us trying to— you know, we didn't have a big budget, like The budget was $10,000 for everything.
Fanshen Cox [00:07:56]: Wow. $9,999 went to VFX.
Rraine Hanson [00:08:01]: Right, exactly. No, thankfully I had lots of, you know, people excited about the experimental grant that I got and, you know, wanted to just be involved. But I bring that up because it was like, you know, it was based on my friend's childhood memory from when they were growing up in China. And obviously we knew we weren't going to to film in China, we knew that we didn't have the budget to like build out hyper-realistic sets that felt like you were in China. And so again, just kind of being like, okay, what can we do? And so, you know, my art department background, I was like, let's get like, you know, hand-painted backdrops, miniatures, and then using the green screen to kind of like fill in the things that, you know, just to kind of help it gel all together. Because again, with a tight budget, it was hard to like, you know, make— like I said, make things hyperreal. And so we just didn't try to at all and leaned into, , the recreation of my friend's memory and, you know, what it felt like and yeah, just, you know, it's definitely a more like stream of consciousness type of piece. , very reflective and just about giving, you know, your inner child grace. As you understand, you know, those, those early instances of desire can tell you so much about yourself.
Art Department 101
Fanshen Cox [00:09:20]: So, I'd love to hear— I'd love for us to talk a little bit more about art department because you're the first guest we've had in our 7 seasons. I know, I'm just realizing we've had a prop person but we have not had art department itself. So, so talk to us about how you got started in that, and also if, if any of our listeners or watchers are interested in doing that as a career, what would it take?
Rraine Hanson [00:09:48]: I've like discovered what art department is, or just, you know, production design in general at Emerson in film school. I didn't really know that was a thing that, you know, specification— we know about the camera, we know about the lights, you know, about acting, but it's one of those under, you know, underrated parts of the storytelling process. And I, you know, was drawn to film school for the writing aspect, but I very quickly realized that I love being on set. And I was like, okay, maybe I can DP. And I, you know, was taking some of those workshops, and all the technicalities of the lighting stuff was kind of going over my head. And I was like, okay, it's starting to feel like I'm in like math class again. And so I was like, you know, then I started to just kind of do art department for friends and because of, I think, my artistic background and liking to be hands-on and just crafty, I feel like that's from my mother. My mother's a very, you know, DIY, will make her clothes, make her decorations type of person. And so I definitely inherited some of that. And so I quickly realized it was a way to inform, you know, the world building and, and decide what was in the frame, similar to DP, but you know, more, uh, yeah, yeah, yeah, yeah. And I'm guessing more into the, you know, the period setting and the, the characters' entirety and just really like, you know, the details. And I feel like I'm very drawn to details and so it's one of those things that the more you learn, the more you realize you have so much more to learn. Because, you know, on big Hollywood projects, the art departments and the set decoration, you know, it's like huge, huge, huge. So much goes into— but they got
Fanshen Cox [00:11:26]: All that money too, so it's nice, right?
Rraine Hanson [00:11:29]: But I realized that that was how I preferred to collaborate with people when I wasn't on my own projects, was like being their production designer or, you know, working in that, in that world. And anytime, you know, even now my freelance hustle is primarily doing art department. So if I'm, you know, doing below the line work, so to speak, it usually tends to be art department. I just enjoy like the hands-on nature and just really— I don't know, that really speaks to me, like the, the, the literal sense of world building. Cuz you get the script, but there's like all the details that goes into making that space come to life. Love it. And it really, you know, speaks to my like design eye. And yeah.
Fanshen Cox [00:12:14]: So speaking of that too, so we've talked about that really it's mixed media and, and, and I guess when I hear that, I think about that, like that it's that, that tangible things you can touch, you know, and you talked about film and digital together and I wanna know in what ways that may be connected to your personal story. I'll say, uh, uh, let me just put it this way. You're so brave about sharing your own journey, right? Like, what— you know, in reading your bio, you have support as a lesbian filmmaker, but you are trans male. And you know, when I saw you on TikTok in particular, I was like, yes, for somebody to talk about their experience and now be making a short, I'm gonna prese, Transcend, right, is, is allowing other people to watch you allow yourself to grow out loud in front of people. And I guess I'm wondering if, if there are connections between the mixed media and that journey and how you identify. And if there aren't, don't feel pressured.
Rraine Hanson [00:13:28]: Yeah, I've never thought about it that way but I'm sure there is some connection in the sense of like just defying boxes.
Fanshen Cox [00:13:43]: Yes.
Rraine Hanson [00:13:44]: You know, like, I feel like you, you know, you're presented with several things and it's like not black and white. It's just kind of, you know, picking and taking, and pouring into different things that speak to you and all of them and allowing things to coexist in a way and so yeah, I never, I never thought about it before, but it— I'm sure it's coming, kind of coming from that same place, that same part to me that doesn't just want to kind of like, you know, color within the lines, so to speak. Yes.
Fanshen Cox [00:14:11]: Yeah. Okay. Well now, and that I wanna ask you about, and it— so I'mma be vulnerable and admit that embarrassingly, I don't frequently get experimental. Mm. I can appreciate it. I can be, if you know, like a, if, if there's any aspect of it and like maybe the visual, I could be like, okay, the visuals were amazing. What do you recommend for somebody who is watching an experimental project so that— and, and I'll say someone who's very literal. My— this is my problem is like, I'm like, just tell me what I'm supposed to understand. Right? What do you recommend?
How to Watch Experimental Work
Rraine Hanson [00:14:54]: It's hard. I feel like I talk about this every week. Experimental is a label that I have a love-hate relationship with.
Fanshen Cox [00:15:00]: Yes.
Rraine Hanson [00:15:01]: It's very like relative, so it doesn't really mean anything on its own. Like, you know, it's always referring to whatever the mainstream thing is. And so it's constantly changing. I was experimental in, you know, meaning.
Fanshen Cox[00:15:14]: when it's referring to the mainstream, because it's like, if it's not mainstream, then it's experimental?
Rraine Hanson [00:15:19]: Yeah, because usually, like, whatever conventions exist, an experimental approach would be, you know, breaking those conventions. So, I kind of just— like I said, for me, I'm just like, this is an brella term and it— I will show you what that means to me. And for me, it's kind of just like— it's almost like a disclaimer to the audience, like, this is not going to follow the typical conventions of, you know, a movie. Like, yeah, blockbuster movie, you're gonna, you know, maybe it'll be one take the entire time, or like one angle the entire time, or maybe there's no music, or maybe, you know, everyone has their own— it— because it— because I said it means so many different things to different people. But I think It's almost just like a way to ex— uh, set expectations for what kind of film you're gonna get into. But, you know, I think not everyone has a tolerance, as I say, for experimental film because sometimes, you know, it might be— it might be— because, you know, it might be a red circle moving, you know, for 15 minutes straight, and you're like— and for me, I, I'm willing to, to go there as a filmmaker and hear about why that— why they did that. But not everybody has an interest in, like, you know, I really believe that Q&As are really important for experimental films because, you know, you need the context.
Fanshen Cox [00:16:40]: Yeah, that's what— with that, like, in a muse, I'll just go straight to, like, I'll read the description and then I can stand back and look at it and be like, okay, I think I get it. Yeah, yeah.
Rraine Hanson [00:16:50]: Okay, I tried to go to every possible screening just because I was like, I know it will make all the more difference for me to contextualize the intentions behind this. But yeah, I think for me, yeah, it's kind of just goes back to like, you know, almost for— hmm, how I say— like, to not really put a definition into it, but just— it's just— I said it's just more of
Fanshen Cox [00:17:21]: Like, you know, that we're gender expansive, right? Like, this is the part of the podcast You know, that was— is— has been important to our team from the beginning. And it's, it's, it's more like we just don't wanna be in a box. Mm-hmm. And so it feels like you're saying, you know, as long as it, it, it, if it's not that thing that like conforms in all the ways that every, you know, that everything else is conforming or that we're told we have to, then that is experimental.
Rraine Hanson [00:17:49]: Yeah. Yeah. So to speak. Yes. And like, like I said, it could be other things as well. I don't think it's the only— like, could have like, you know, an experimental drama, an experimental comedy, experimental— you know, it's, it's, it's like kind of like the modality more than the genre.
Fanshen Cox [00:18:02]: Okay.
Rraine Hanson 00:18:04]: But I think it's okay if you don't love all experiments. Like, I— there's times where even I am like, like, I feel like I'm being held hostage in this because I'm like, what is going on? But, you know, I'm, I'm more inclined to seeing like how people are like shaking things up. As much as I love, you know, the classics and the— all of that too, I think it's any kind of response to the mainstream, especially being a Black queer person. Like, you know, that's— I feel like we're always— Exactly.
Fanshen Cox [00:18:37]: Exactly. That in itself.
Rraine Hanson [00:18:37]: Experiment, right?
Fanshen Cox [00:18:38]: So Transcend, which, which also again, so I, you know, we met at Black India Ignite, then I saw you at Sista Brunch, and then I saw this incredible person raising a lot of money on TikTok, and then you made me think I could do it, and I'm not doing it the way you're doing it. So but talk about the film. Yeah, where things are now.
Project Spotlight: “Transcend”
Rraine Hanson [00:19:00]: And sure, yes, so Transcend is my next short film. It's about a father, , and his, you know, child who is exploring their gender from really early on. They're navigating the loss of the child's mother, and so You know, I really just wanted to create a story where the queerness is not the source of the tension. And so, like, especially in a Jamaican context, because I feel like, you know, I've been told my whole life, "Oh, that's just how— that's just how they are," you know? That's, that's it. That's— homophobia is a standard. It's never gonna be questioned or announced. Like, that's, you know— But I, you know, really, I'm just like, "Okay, but what if— what if someone—" did decide to parent in a more nourishing way and, you know, give their child space. And so it's really, you know, exercising like painting that picture for myself as well. And, you know, , giving my— myself that, you know, uh, visualization of like what it could be like. So it's not biographical in that way. It doesn't necessarily reflect my own story or relationship with my father or parents. But I think again, I'm very interested in like showing on screen what feels out of reach in real life. And so Transcend is another example of that.
Fanshen Cox [00:20:25]: And you're shooting it in Jamaica, right?
Rraine Hanson [00:20:27]: Yes. So she's making— yes, that was— it's been very important to me, this, , you know, whole development fundraising. Everyone is like 'Can we shoot— can we shoot in Hawaii? Can we shoot in Florida? Can we shoot in—' I'm like, 'No, no, no, it has to be Jamaica because it's so—' I mean, it's really hard to explain, to put Jamaica into words. There's— it's so, so many— such a specific and layered, you know, experience, especially in Kingston where is, you know, a lot of— has the largest population, so many different kinds of people living together. But, you know, it serves as the most authentic backdrop to dissect— you have to— masculinity. And I think all the time we would spend in trying to get somewhere else to look like Jamaica, we might as well just film it in Jamaica.
Fanshen Cox [00:21:15]: Absolutely.
Rraine Hanson [00:21:16]: And yeah, and I think the filmmaking scene in Kingston is really, you know, growing and thriving, and I really want to collaborate with other Jamaicans. So that's beautiful.
Fanshen Cox [00:21:26]: And we should mention, I mean, I know we, we try to keep these episodes evergreen, but just— I think you had just started your campaign and then the hurricane happened at home too.
Rraine Hanson [00:21:39]: It was— yeah, it was my last week of the campaign.
Fanshen Cox [00:21:42]: Oh, it was the last week.
Rraine Hanson [00:21:43]: And so, which was rough because that's the week where you really typically would get most people because they're like, people have been meaning to donate.
Fanshen Cox [00:21:49]: Yes.
Rraine Hanson [00:21:50]: You know, that's when I would like, you know, really amp up all of the marketing and the posts. And I remember it was like literally to the T, like, Melissa landed on Monday and my campaign was supposed to end that Saturday. And so it was like I was like, I can't I cannot post about a movie right now. Like, it was just like, I cannot ask people for, , you know, money for a film right now. Yeah, it was like, people are about to be really devastated. Yes.
Fanshen Cox [00:22:22]: Yeah. Not having their homes.
Rraine Hanson [00:22:22]: And so it, you know, it was actually Yeah, I was like, I have to just let the campaign go because there's no— there's no— which is so ironic to be, you know, spent like a month and a half talking about this place and like why the story is important and why is making a story that important and then having to be like, the— well, the people, the actual people I'm thinking about are, you know, in danger, so to speak. So yeah, that takes priority. But it's actually one of my producers, Natalie Jasmine Harris, you know.
Fanshen Cox [00:22:49]: Yes, I do.
Rraine Hanson [00:22:50]: Really?
Fanshen Cox [00:22:50]: Natalie Jasmine Harris, uh, season 5 or 6.
Rraine Hanson [00:22:53]: Oh really? Oh yeah, of course.
Fanshen Cox [00:22:55]: Oh yes, oh yes. We love you, Natalie.
Rraine Hanson [00:22:58]: Amazing. Yes. But she kind of like talked me off the ledge a little bit and was like, no, like, I think, you know, let's find a way to reframe it. Like, I think what you're doing is still important. It's still— and so we made a commitment to give a part of our fundraising to local, like, queer organizations. Yeah, that, that's the only way that I could move forth with that.
Fanshen Cox [00:23:26]: Yeah.
Rraine Hanson [00:23:26]: And I think it did ultimately help. I think people in that, in that week wanted to do something, they wanted to do something for Jamaica, but they didn't really know what.
Fanshen Cox [00:23:34]: Yeah.
Rraine Hanson [00:23:35]: And so, you know, the more that you give people a, a way to be like, hey, this is going to on people actually on the ground, especially queer people in Jamaica, that, you know, a lot of people and celebrities are posting about Jamaica, but, you know, it's— and not that there's anything wrong with this, but it was Jamaica at large. But those, you know, within that Trans people in Jamaica definitely get, you know, they're more of an afterthought, I feel like, when it comes to— You know, the government and other institutions there.
Fanshen Cox [00:24:00]: Absolutely. Yes. And the representation. I mean, this is it. I feel like this is the first of its kind I would imagine. Is it?
Rraine Hanson [00:24:07]: I can't think of another one that's trans— masculine specific. There's been a— there's an HBO show actually came out last year, Get Milly Black, that had multiple queer characters. It was really incredible to see. And honestly, seeing that, you know, really affirmed in my mind— I was like, okay, I can make this movie now. Yeah, I mean, even if I couldn't have like 5, 10 years ago.
Fanshen Cox [00:24:26]: Yes, yes.
Rraine Hanson [00:24:28]: You know. And so yeah I definitely— it feels like people keep— people are like, I'm so— I— when they donate, they were like, I, I'm happy to be part of history. And I was like, whoa, that feels like, , almost too big. But I think, you know, that's how
Fanshen Cox [00:24:40]: I would say— I'm like, by the way, don't forget, don't forget who Yes, no, because really, that is, that is what it is. You are making history.
Rraine Hanson [00:24:51]: Yeah, and I think that's why people are responding to— because they can't think of an example of this. Like, the closest thing I can tell people is like, imagine if Dwyane Wade was Jamaican. Like, that's like the, the one cultural reference I can be like, a father who is raising a, a trans child that, you know, is actually allowing the space for that.
Fanshen Cox [00:25:10]: Yes.
Rraine Hanson [00:25:11]: But even that is so rare. And so, you know, putting that in a Jamaican context It's really— people are like, okay, I've definitely never seen that.
Join Us on Patreon
Fanshen Cox [00:25:17]: If you are enjoying this episode of Sista Brunch, you have got to join the whole community. And we are over here, all these conversations we have on Sista Brunch, you will be able to do this with us weekly, even daily, on Patreon. So you can find us at patreon.com/sistabrunch. You can join us for free. I mean, if you've got funds, we appreciate that too. You can have a monthly membership or join us for free. You're gonna get, uh, behind the scenes, you're gonna get some sneak peeks at episodes. We've got merch. We've got conversations going on over there that you can't see us having publicly. Really, this is our place to really talk about all the things that we talked about at those original Sista Brunches in person. We are doing over on our Patreon, so join us there.
Rraine Hanson [00:26:02]: Hello, my name is Rraine Hanson and you're listening to the Sista Brunch podcast.
Let’s Talk Finance
Fanshen Cox [00:26:06]: I love it, I love it. Okay, , so now we'll— you know, we're already talking about the fundraising, some for Transcend. And we're so excited. Whenever you stay in touch with us, we also want to do a little case study with you on Patreon. You should join our Patreon because we, you know, we hope we'll get you to, to kind of talk about making this short. But we want to go to our financial segment. So whatever you're comfortable with, and actually I'd love both of these. One is, what is the kind of salary range or fee range for art department? And then also we'll talk about the budget for Transcend. So you wanna— whichever one you want to start with.
Rraine Hanson [00:26:49]: I would say with art department, it really varies. Like, you know, I mean, I see, for example, if I'm on a union shoot— oh, you're in— yeah, yeah, it's way different.
Fanshen Cox [00:27:01]: Oh so you’re in IATSE? What, what, like how many hours does that take. What?
Rraine Hanson [00:27:07]: It was a lot. I joined like a year before the strike, so I feel like I haven't— I don't know if this is going to be recorded, but I haven't reached the full benefits of being— I feel like right, okay, in the early peak of streaming, you know, everyone was working union, was like, this is, this is every— you know, so many people got their days and got in, including myself.
Fanshen Cox [00:27:23]: Yeah.
Rraine Hanson [00:27:23]: And then I feel like it hasn't been the same since the strike. So I don't know if I worked any union jobs this year. Last year I worked a few, and you know here and there, but it's not like I've been TV show, TV show, TV show, TV show the way that most people who are in union do. So, you know, I think just.
Fanshen Cox [00:27:40]: So because it's union, there's scale, right? Like if, if you are gonna work art department, you can, you can look up what the scale is. Mm-hmm. Because one thing we think about a lot is like encouraging our listeners our audience to negotiate. Mm-hmm. And you can start with scale and you need to start with scale. You need to know, like, go on IATSE, find out what, what do you make for art department? And that way you go in knowing. But how— do you have enough power, or are you like, yes, I'll take the job, whatever you'll pay me?
Rraine Hanson [00:28:10]: Honestly, I— going back to what we're saying, our department is really underrated and undervalued.
Fanshen Cox [00:28:17]: Yeah, you take what you can get.
Rraine Hanson [00:28:20]: Okay, I always think about, like, I always know in every project I go on to that the DP is making twice as much as the fashion designer. Like, I just know, even though I always— I truly believe we have the hardest job on set. Like, no one has to prep like the art department. Yeah, we'll be the last ones packing the truck because we have to wait for camera to get our lighting to get out, and then we can start the wrap.
Fanshen Cox [00:28:38]: Yeah.
Rraine Hanson [00:28:39]: And then we're putting all the pieces back in the house, and, you know, yeah, so it really is a very physically laborious job, time, you know, intensive job. Prep, wrap, dressing, everything, right? Everything. And so, you know, I would say if you want to do art department, definitely You know, RPing is a good way to test it out and see, you know, what parts of it you like, what parts of that department you like. Because there's the more office side of things that are like, you know, floor plans and graphic design and, you know, more like computer software stuff. And then there's the shopping and the building.
Fanshen Cox [00:29:17]: Painting. It's like all of that.
Rraine Hanson [00:29:18]: Yeah, there's so much of that. Yeah, you know, it just depends on which side you like.
Fanshen Cox [00:29:21]: Mhm. And you— which side do you?
Rraine Hanson [00:29:24]: do the— I like being on set, so I do, I do a lot of set dressing and prop, prop, prop stuff. , or on like, you know, short films, I'll do like production design as well, depending on the scale. I feel like I've worked pretty much every, every role, but it's, it's hard. I mean, I will always— I think figuring out what your bare minimum is and like making sure— like, I'll do it, take a flat rate for a short film. I know how it goes as a, you know, director. I guess it. And so, you know, I have my— like, I wouldn't do a short film as a production designer for less than $1,000. I mean, that's, that's the lowest, but that was— that's my bottom line because I know what it will require me to do those passion projects, especially when, you know, it's like you're probably prepping alone and then you're gonna get what, like one PA to help you on set? And like, you know, there's so much involving— it requires so much time and, and creative, you know, that you I'm like, if I can't pay rent with this, then yeah, it's not even worth me like killing myself over. Because it's like, it's truly like at least 2-3 weeks of work, like, in total, no matter how many shoot days.
Fanshen Cox [00:30:28]: You're doing the prep, right? Yeah, like you start off kind of rom the meetings and the boards and then location scouts.
Rraine Hanson [00:30:31]: And of course, you know, the location sometimes they don't know until the week before, and so you don't know what your workflow is gonna look like, you know. It's just, it's not Yeah, it's not the most glamorous job on set for sure, but I really— I think that's just where I figured I like to be in terms of the, you know, production machine.
Let’s Talk Tech
Fanshen Cox [00:30:55]: So, all right, so this, this is a perfect segue into our Let's Talk Tech. So is there a— is there like a term that you use maybe on set in the art department that, you know, if you said it to somebody else or like you can make me sound cool if I ever meet an art department person? I'm like, oh, by the way, you know, what, what could I— what could I say?
Rraine Hanson [00:31:16]: I'm trying to think. I feel like one of the— there's so, there's so many. Even just like on set in general, like I remember the first time using a walkie-talkie. There's so many things that is like,
Fanshen Cox [00:31:26]: okay, what's the bat— what's bathroom again?
Rraine Hanson [00:31:28]: Oh, 10-1.
Fanshen Cox [00:31:29]: Okay, 10-1. Yeah, that's a good one. Let's say that one. That's perfect. Actually, everybody really needs to know that one.
Rraine Hanson [00:31:37]: I was gonna say, I— this is like one of the first like concepts or maybe this is kind of two, but one of them that came to mind is like Greeking.
Fanshen Cox [00:32:45]: Greeking? Like, wait, it's G-R-E-E—
Rraine Hanson [00:31:51]: like the— like Greek, except Greeking. Yeah, yeah. So basically that's like, because of, you know, clearances and copyright in— especially in this country, like if you see any kind of— like let's say we're looking at a shelf or like a fridge and there's a bunch of products, Greeking is just like cheating every individual thing. It's a very set dressing you know, okay, okay, okay. You, you cheat this so that all the labels are like facing away from the camera, because if it's not in focus and clearly visible, then you don't have to worry about copyright. And so that's, that's just like, you know, that's like step one. I think when you're suggesting like knowing that, oh, you need to watch for any logo— and greeking can also be like putting black electrical tape over like the TV logo, like whatever. It's just, it just has to do with obscuring like branding and logos.
Fanshen Cox [00:32:33]: Yes, brand or masking the logos so that you don't have to pay.
Rraine Hanson [00:32:36]: You know, they're paying this— it's like, that's why they're paying you so that they don't have to pay the— yeah, yeah, yeah, exactly. Or even like aging is another concept that I really, , yeah, so the art department, it's really like a big part of our job that obviously we buy things a lot. Sometimes you get from prop houses, but sometimes you're buying, you know, a box from, uh, you know, a box like a retail store that looks new, but in the story it's supposed to be a lived-in house. And so different things you can do to age certain things depending on what it is.
Fanshen Cox [00:33:07]: Secrets— how do you make it?
Rraine Hanson [00:33:08]: There's aging powder, there's aging sprays.
Fanshen Cox [00:33:11]: Really?
Rraine Hanson [00:33:11]: Sometimes it's just like, you know, literally dirtying something up with like whatever dirt, you know, it could be. We're just making things look less shiny and, and store-bought, just like it feels more real.
Fanshen Cox [00:33:22]: You like throw it on the ground and stomp it.
Rraine Hanson [00:33:25]: That's one of them. There's scenic painters, they have like techniques that they do to paint sets so they don't look like freshly built house. Like, that's, that's what— like, when I say art farm is one of those things that I'm like, every day I, I learn something else. It just affirms that there's so much more that I said. Like, it's one of— it's because there's so many crafts in one. It's like home renovation, design, architecture, like so many— like, you know, psychology, like it's like all these different— absolutely— anthropology. I mean, you have to become like an expert at so many different— love it. If you're, if your character is a gardener, suddenly has to know all.
Fanshen Cox [00:33:58]: things about— Should we feel bad for the person that's doing art department on you— on Transcend? Because are you going to be like, uh, no, you know what, you're going to let them do— or, or are you art department on Transcend?
Rraine Hanson [00:34:10]: I, I'm not. I learned the hard way from doing my thesis film, because, you know, I was like, oh, I, I love art department, I'm going to write, direct, production design, coste design, this, that, that. And I, I learned the hard way that when you wear multiple hats, you can't give 100% to everything. And you know, that's the beauty of being a director, is that you can have a say in everything without being that role. Like, you don't have to be that role to have, you know, creative jurisdiction. So because, you know, just let someone else do it.
Fanshen Cox [00:34:37]: Let someone else do it and let them know you know what they're doing so that you can— right, exactly.
Rraine Hanson [00:34:40]: Let's say inform your, like, communication with them, but you don't need to, like, micromanage in that way. You know, as long as you— you know, it's more about hiring the people that you trust to, like, ensure that you won't, you know, want to like, so what lambar we gonna have today? And like, you know, you can just let them.
Signature Sista Brunch Question
Fanshen Cox [00:35:00]: I love it, Rraine. Okay. This has been— I just, I knew I would be learning from you and I'm so glad you're here. Okay. So this is our signature Sista Brunch question. So Rraine, you and your younger self are sitting down to a Sista Brunch. What are you both eating? What are you both drinking? And they can be whatever age you want, whether over 21 or not, if that's what you do. And then what do you tell him?
Rraine Hanson [00:35:31]: Okay, well, we're definitely going to be having Jamaican breakfast. Yes, I love Jamaican breakfast. I don't have it enough.
Fanshen Cox [00:35:37]: Yeah, what's your favorite? Do you do, hmm, sorrel?
Rraine Hanson [00:35:44]: No, how— juice, any fresh juice. Everybody drink is like, it's always a fresh juice around, or like teas. He's a tea or fresh juice.
Fanshen Cox [00:35:50]: Yes, yes.
Rraine Hanson [00:35:51]: Or both and I honestly, I get very emotional thinking about my younger self. I, as I'm sure you can tell, you know, was extremely shy as a child. I'm less so now, but still, you know, I was very much in my shell and very like, you know, afraid to speak. Just really like, you know, was inclined to just kind of Uh, you know, like, kind of just blend in. I didn't want to, like, be the center or, like, be in the spotlight at all. Like, I would, I would love to go to, like, you know, uh, my music, like, piano class, but I would hate to have to do the recital. Like, I was like, why'd I have to do it in front of everyone? Like, I just want to learn. I just want to learn. Yeah, I don't want to be a performance. I never want to perform. And I think, yeah, like, somehow I found myself in a field where I have to, like, you know be like leading a project or like doing Q&As or things that do require being in the spotlight.
Fanshen Cox [00:36:46]: Like, on the Sista Brunch podcast.
Rraine Hanson [00:36:52]: And I think— yes, I, I don't know, it's hard to fully articulate, but I think I, I just know that as a kid I was just so often scared. Like, that's just like a feeling I remember being in different spaces. I never— like, it was hard for me to really feel like, just, I could be myself. And somehow, you know, 30 years later, I feel like I'm— I don't know, I, I still feel like I still wish— I still feel like, you know, I have to, like, you know, give myself pep talk to, like, do something like this. And, you know, I'm still trying to find that confidence in my own voice. But I think honestly being queer just kind of saved my life because it— yeah, it really just forced me to just really get to know myself.
Fanshen Cox[00:37:49]: Yes.
Rraine Hanson [00:37:50]: And yeah, it's hard to talk about without being emotional, but it really like— yeah, I think obviously it was hard at some moments to confront these things, especially like, you know. Being queer is one thing, and then being trans is another thing.
Fanshen Cox [00:38:06]: Yeah, yeah.
Rraine Hanson [00:38:07]: I'm still, you know, working— just, just figuring out what that means to me. But I think, like, it has really felt like a spiritual experience to just really have to trust your, your own feelings and what you— I don't know, like, trust your own desires and your, you know, things that speak to you. And yes. I think— I don't know, I think I probably always knew, but I think if I was less worried about, you know, just being seen, then I probably would have, like, found solace in this a lot sooner. And so I think— I don't know what I would say except, like, it's okay, like, you don't have to be so scared. But yeah, sorry, sorry, sorry about it.
Fanshen Cox [00:38:59]: Don't be sorry, Rraine. Rraine, you are such an acceptable— acceptable exceptional, truly exceptional person. And I've known it since the minute I met you. I was like, there is something here.
Rraine Hanson [00:39:12]: I appreciate that.
Fanshen Cox [00:39:13]: And this is what it is. I mean, you're a gift. You're such a beautiful gift to all of us and to everybody who, who's gonna be able to see your work and understand it, even if it's experimental.
Rraine Hanson [00:39:25]: Yes.
Fanshen Cox [00:39:27]: That in your, you know, in, in your vulnerability, in you know, in your choice to display Despite feeling scared and uncomfortable, to go ahead and tell your story anyway is so powerful and so meaningful. And we're— we are— my goodness, we're so honored to have your story on Sista Brunch.
Rraine Hanson [00:39:49]: I appreciate that. I'm very grateful.
Fanshen Cox [00:39:52]: Thank you. We'll be following, we'll be supporting, we'll be doing everything we can. You raised the money already, you don't need us for that, but maybe in post. There, that's— all right, congratulations, Rraine. Thank you so much.
Closing & Partnerships
Fanshen Cox [00:40:07]: Okay, thank you so much for joining us for another episode of the Sista Brunch Podcast. We've had an— we've just had another amazing, impactful story, and I tell you, every single time we do an episode, I think it can't be topped by the next guest, and here we are every single time being moved, having the opportunity to introduce all of you to somebody that you should know and to stories that you should hear. So we're so privileged and honored, and, uh, thank you for joining this episode of Sista Brunch. So, uh, Sista Brunch is brought to you by Trujillo Productions. Our show creators are Anya Adams, Christabel Nsi-Abuadi, and me, Fanchon Cox. Our amazing season 7 Producers are Sam Henderson, Tasha Rogers. Our associate producers are Ashanti Groves and Charlie Savage. Sista Brunch is recorded on the land of the Tongva, the Chash, the Gabrielino, the K'iche', and the Serranos people. And we are so honored to be able to live and work on these ancestral lands. We'll talk to you next week.