featureTHE SNAPSHOT Q&A: Rianne WhiteThe Mouthpiece-repped director on working with her idols, moving from Edinburgh to London (with geese) - and the need for greater mental health support to cope with the demands of the industry.Rianne White is a multi-faceted creative whose extensive list of credits as a director and editor include music videos for Young Fathers, Aurora, Ellie Goulding, Lola Young and The Proclaimers, and the short film Sugar For Your Tea, showcased in festivals around the world. In the past few months Rianne has added two exceptional videos heralding the exciting return of well-loved bands - Franz Ferdinand and Black Country New Road. Rianne has also worked for the TV series Outlander and the short film Nevada, directed by Ruth Paxton, as a choreographer and has collaborated on impactful projects including the Scottish campaign United To Prevent Suicide. Her work consistently explores themes of the ever-evolving resilience within identity and the need for connection with our people, our planet and our inner worlds.Having recently moved from her native Edinburgh to London she now gives us a glimpse into her own world via the SNAPSHOT Q&A. And you can find out what she thinks is 'sagacious'. What a great word...Name: Rianne WhiteBirthday: 2nd November 1991Where did you grow up? Edinburgh, Scotland.Place of further education and course (if any)? I never thought I would go into further education after leaving school as quickly as possible at the age of 16. But impulsively, years later, I took possibly the longest route (a casual 10+ hour trip) to Falmouth University to study a BA in Choreography. It was here that I taught myself film through the lens of physicality and movement. Those were some wild years on the coast.Where do you live now? I moved to London 6 months ago.Name a film or video or other creative work that had a huge influence on your career choice?I remember being very (very) young and finding the VHS of Tommy (1975, Dir. Ken Russell) and being completely fixed to the screen. The scene of him crashing through the mirror into the swimming pool embedded itself in my brain and conjured this curiosity into how cinema can punctuate inner worlds so deeply and beautifully. I don’t think I could understand a lot of what I saw at the age I was, but I remember whispering to myself that he was now free. Weightless in water. Transformed. I haven’t watched it since - I fear it would be like brushing your teeth right before a great coffee. Don’t want to spoil the memory.Labyrinth (1982, Dir. Jim Henson) was another one that made my expansive imagination feel seen in many ways as a child. David Bowie has always featured throughout my life beamed in through the womb to each postcode we lived in. It was wonderful to understand him here so young. My Scorpio only child gripped onto this with both hands, finding the theatrics energising and brilliant.Madonna's Frozen was such an important and inspiring visual for me.I also recall pre-double digits in age when I saw Frozen. NOT “the cold never bothered me anyway” one, but Madonna’s music video released in 1998 (Dir. Chris Cunningham). It permeated my mind in how she moved, the endless desert, birds and hounds - this was such an important and inspiring visual for me. The understanding and knowledge of music videos seeped into every pore, I was instantly addicted to where the music took the artist — what world, what shape of movement and if I was so lucky, which animal would find its way on screen alongside them. I was hooked!What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?Life had been turbulent in my early to mid-twenties, shaped by family traumas and the discovery of mental health, with all the frills that come with it. I distinctly remember being at home in Edinburgh, staying with my mother at the time, when I received a message from Young Fathers' management about a potential music video.Within days, I was trotting down Leith Walk to meet them in their studio and discuss ideas. It was such an instant click, and as they played Lord through the speakers, I honestly felt an arrival within myself and instantly knew how important and essential it was for us to create art at this time.‘If wishes were horses, then beggars will ride’. The concept started with a rocking horse, and evolved into the wonderful Alloysious horseback on Magic. It was a dream producing, directing and editing this piece and waking up post-release explosion of news.This journey took me around the world to film festivals, landed the work in publications I had idolised, led to meetings with production houses, and ultimately resulted in signing with Partizan globally for three years. Most importantly, it brought me back to life, reigniting my focus on the power of the arts. If you ever have a moment, listen to Lord at full volume on headphones. It is magic.Best film(s) you saw last year?Perfect Days (2023) - this is like the book on the shelf that catches your eye to read time and time again before finally picking it up EXACTLY when you need it most. This Wim Wenders film, released 2023, gave me so much joy recently. I had sore cheeks from smiling all through it as its poetry and meditation of gratitude held by Kōji Yakusho’s character is so profound and understood. This is a deep inhalation, a tapping on the shoulder to open your eyes to what is around and find what truly brings you joy.Kneecap (2024, Dir. Rich Peppiatt) - this film triggered a constant ‘fuck yeah!’ reaction throughout. It combines the ingredients of electric film-making and cast - crowned by a story routed in language, defiance and legacy. Liam Óg, Naoise Ó Cairealláin & DJ Próvai are stand out.The Girl with the Needle (2024, Dir. Magnus von Horn) - hardcore trauma wrapped in the most stunning cinematic ribbon. Vic Carmen Sonne is mesmeric, and watching her veiled in black and white throughout her performance was such a treat. I enjoyed this, although I needed to hotbox myself in sage and incense after to bring my heart rate down.Favourite song/album/music artist in the past year?Kae Tempest holds a rhythm in my heart. Everything they do is just hitting a frequency and appetite for lyricism I don’t often feel absorbed within anywhere else. I am constantly in awe and grateful to have spent time with this beautiful mind and person. And Doechii’s album Alligator Bites Nevel Heal is sagacious. Offt. I love sticking this on.I am also a playlist addict. Last year's eclectic Christmas generational hotlist holding its weight through 2025 is studded with Tori Amos (Precious Things – one of the greatest tunes), Depeche Mode, Warren Ellis, Radiohead, Biig Piig, Nao, The Cure, Yeah Yeah Yeah’s, PJ Harvey to Khruangbin.It's alarming that in this line of work you’re constantly advised not to be overly political.Favourite music video/videos in the past year?Allégorie Citadine (aka An Urban Allegory) - a short film, directed by Alice Rohrwacher & JR, that's a beautiful exploration through the eyes of a child. This has so many great moments, and the child actor has one of the most beautifully expressive faces.I loved the Jungle series of music videos by directors J Lloyd [and Charlie Di Placedo], choreographed by Shay Latukolan and shot by the babe that is Tasha Duursma. Absolute tunes!Conceptually, I loved Waxxwork's Kasabian's music video which features a skydiver jumping out of a helicopter with the video of the band playing real time on the phone screen as it hurtles towards earth. There have been so many debates involving AI, and here is an example of how the magnitude, bravery and craft of an idea is as awe-inspiring as its final results when pulled off ‘IRL’.What was (or usually is) your favourite night out last year? The nights out that start with the side eye ‘lets go for one’ and then transpires into new found friends, a lot of dancing and uncontrollable laughter.In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?Franz Ferdinand's Night Or Day was, hands down, one of the best experiences all round. From the first listen I was transported to my youth in T in The Park and being in the bounce of the crowds to Take Me Out in the Scottish cry of ‘here we, here we, here we fucking go’ and having them echo throughout Scotland and beyond. It’s such a defining moment to collaborate with artists whose music has illuminated parts of my life - and even more incredible to work with them on home turf in Scotland, in the very place where they recorded the music. Woah!I have so much love and respect for everyone involved and couldn’t be more impressed by the incredible individuals who make up Franz Ferdinand. Alex, Audrey, Bob, Dino, and Julian are such genuine souls, and they made this experience truly unforgettable.It was also a real treat that Alex foraged potatoes and rosemary from his garden and rustled them up for the crew - true gent! What a bunch of legends. I’m so grateful for the treasured new friendships with these wonders and can’t wait to hear what’s next! Their The Human Fear record, released earlier this year, is an absolute rocket - get it in your ears!Above: Alex Kapranos, lead singer of Franz Ferdinand, picking rosemary - shot on 35mm by Rianne White.Another absolute dream was working with Black Country, New Road on their beautiful song Besties. Never have I been so happy to be stood in a field with mud up to my thighs, grinning while filming.This all came through a spark ignited with the song itself from the first listen. I remember responding to it by writing about my childhood bestie Sophie (of almost 30 years). We would write to each other often and mastermind ways to get back to each other after a devastating parting very early in our childhood when I moved back to Scotland. The understanding of female friendships was so pure and informed by the intricacies of map drawing and endless imaginative worlds with no care of distance. One deeply understood platonic love, one objective – finding your bestie.Meeting the band, and ideating with Georgia and Ginny was the most wholesome and beautifully shared moment as all the parts came together. Fireworks, hounds and the heartbeat of the harpsichord found us running across parts of Hastings and sharing a collective vision of dropping the world for your bestie. Black Country, New Road are truly brilliant!What are your favourite other (non-mv) projects of the past year or so?Working with HUGO across two commercial projects was an incredible experience - a true testament to the energy and passion this kick-ass brand brings to set. I adore these wonderful people. It was a pleasure to work on their collaboration with Bella Poarch in Milan and to feel the electricity of creatives across stills, socials, and film - one huge dance against the clock unfolding in rapid succession.Their trust and support made the whole experience feel limitless and free. And of course, I was joined by my ride-or-die DoP, Tasha Duursma... Who, let’s face it, is an absolute radiant talent.Months later, we reunited for HUGO’s F1 Racing Bulls collection in London with Daniel Ricciardo and Yuki Tsunoda. It was another perfect fusion of energy and creativity. Daniel and Yuki were hilarious and a joy to direct, and it was deeply humbling to be back with the HUGO gang once again.What’s the most surprising thing that’s happened last year?Waking up in a new postcode and calling it home is surprising, even when manifested and planned into boxes of books, art supplies and enough plants to oxygenate another planet. The move from Edinburgh to London by van was pretty smooth with my partner-in-crime through the crowds of The Fringe, several weather fronts and when hitting the open road under a migration of geese – also travelling south.A few days after my birthday last year, a notification popped up that a photograph I had taken was chosen to be exhibited in the Glasgow Gallery of Photography’s Women in Photography collection. It’s been magic to have a part of me up in Scotland while I am down here [in London], and the support from my favourite people.Most annoying/irksome thing that’s been going on this year (work-related or otherwise)?Honestly, with the world right now it feels impossible even to hold the word ‘annoying’ in context with how immensely depressing and heartbroken the state of humanity is – especially with our mass media exposure of the genocide of Palestinian people alongside the need for collective liberation against oppression of Sudan, Congo, Tigray, Lebanon, Yemen... and may other places that are being underrepresented by Western media. This sided with Trump and the far right - fucking kill me now. Beaming so much love to our LGBTQ+ beautiful queer community – I love you, I see you.It's alarming in this line of work (or any) that you’re constantly advised not to be overly political or let your mouth run on topics that might upset. It has been beautiful to come together with friends and family in creating noise and awareness. I am so grateful to those who sponsored and supported my ‘Stride For Palestinians’ fundraiser with Medical Aid for Palestinians and other links/sources shared. It’s the tip of the iceberg, but it's led to many conversations and modes of action. When life feels too overwhelming, I am so grateful for my community – the people who love the people, nature and freedom on this planet.The need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE.Your top suggestion to change and improve how the music video industry works?It feels like the ‘known thing’ that music videos don't have a lot of money and that to make a career solely of music videos is fundamentally not doable for the vast majority of people - unless you come from money/willing to give part/majority of your fee to the project itself. As a person that does not fall in this category it has been extremely hard to balance passion with financial security.There should be more support for creatives in the pitching process, empowering fees for time spent on creative ideation, especially in line with numerous treatment submissions. In all areas of production, from pre-to-post, the need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE. I have felt the machine of expectation in spells of ‘we need to get this across the line’ and the sacrifice of creative/payment, or the toxic positivity of ‘but this is a great opportunity/ you should be grateful’ in line with the amount of work required from craft and soul. It is the best job in the world to me, but it is hard work.I have been so fortunate with the people I have created with, and I have the upmost respect for the brilliance and empathy that exists within our teams. We need to support our creative minds better, and celebrate the meeting of music and film in the way it truly deserves for all artists involved.What are you looking forward to for 2025?Creatively I am pouring my heart into developing a short I have been dreaming about for years. I am so excited for this to evolve and grow with me and be able to collaborate with brilliant people. In a couple weeks I am off to Japan to celebrate my partner's birthday and see great friends for adventures seasoned with cherry blossoms, street photography, new tastes and culture.On my return, I want to hit the ground running and dive even further into the world of creation. There are so many musicians that have my inner world bouncing with inspiration and collaborations with brands that excite me deeply. I will be fully openfor business in May 2025 and cannot wait for what is to come. Here we, here we, here we.....• Rianne White is represented for music videos by Claire Stubbs at Mouthpiece; watch more of her work here
