In Conversation with Shira Hockman: from Drafting to Supervising Art Director

Filmbase: Hi Shira, you’re in Oslo at the moment - can you tell us what are you working on?

Shira Hockman: I’m currently working on a show called Ibelin. It’s split between contemporary and fantasy storytelling—almost like two films in one. It’s based on Mats Steen, a gamer from the 1990s who had Duchenne muscular dystrophy. Towards the end of his life he could only move his fingers and speak, and his parents believed he was quite isolated, spending most of his time playing World of Warcraft. After he passed away, they discovered he was actually incredibly well-known in the game and had thousands of friends. It’s a really moving story.

We were originally planning to shoot partly in the UK, but the contemporary side moved to Oslo. We’ll be in Prague later this year.

Are you crewing up at the moment?

We were initially crewing in the UK and had a full team lined up, but when production moved to Oslo, that changed. We kept a small skeleton crew to finish design work, and currently we only have a Graphic Designer working remotely. Most of the crew now are Norwegian, aside from the Heads of Department who stayed on. We also have a Czech crew starting in June, but that was always the plan.

Let’s rewind a bit—how did you get started in the industry?

I actually studied architecture, but I never intended to become an architect. I just knew I wanted to do something creative that wasn’t fine art.

During my degree, I took time out to travel and came back completely broke. My cousin, who works in HR at a crewing agency, signed me up without me even asking. It just so happened that a Production Designer needed a Draftsman because theirs was sick.

So my first job was on a German TV show about a planet of women who kept men underground and worshipped a giant snake—which is quite the introduction! But I kept working with that Designer during university breaks, and by the time I graduated, I knew this was what I wanted to do.

So you went straight into Drafting?

Pretty much. I did about three weeks in an architecture practice just to be sure, then switched fully. In South Africa, Art Departments were quite small, so there wasn’t really a formal assistant role—you just got thrown in as a Draftsman and learned on the job.

How did you make the move from South Africa to the UK?

I worked in South Africa for about 12 years and worked my way up to Art Director. But the industry there was very intense—12-hour days, six days a week. I reached a point where I was Supervising and realised it wasn’t sustainable, and also that the kind of projects I love—technical sci-fi—weren’t as available.

So I decided to move to the UK, even if it meant stepping down a level, to focus on the kind of work I really wanted to do.

Do you have advice for people looking to step up in their careers?

It depends on your personality. A Designer I worked with once told me there are two paths: jump straight in and take the risk, or work your way up gradually.

I chose the slower route. I prefer calculated risks and didn’t want to be in a position where I felt out of my depth. I’ve progressed naturally, taking opportunities when I felt ready.

I actually stepped into Supervising too early once and learned a lot from that—I took things too personally and said yes too often. Moving to the UK and stepping back gave me the chance to observe, learn, and grow properly.

My advice is: be honest about your readiness. If you’re going to be overwhelmed, it’s okay to wait. Watch, listen, learn—and when you’re ready, ask for the step up.

What skills are essential for the Supervising role?

Communication, above all else. You’re essentially a conduit between the Production Designer and Director's needs, and Art Department, Construction and Production.

A lot of the job is about listening—really understanding what people saying, spotting where they are miscommunicating and helping align everyone's expectations and schedules. The technical skills come with time, but communication is key.

Do you see yourself as responsible for the team?

Completely. Not just juniors—the entire Art Department. I see my role as creating a safe, supportive environment, where people feel seen and appreciated, so that they can do their best work.

If something goes wrong, it’s on me. That’s part of the responsibility. You have to protect your team, advocate for them, and ensure they feel valued.

That must be a tricky balance with production pressures.

It is, but I’ve found that if you treat people well and fight for them, they’ll go the extra mile when it matters.

Part of my job is also pushing back—reminding Production that the crew are human beings, not just resources. Sometimes that means putting myself in the line of fire, but it’s necessary.

What do you enjoy most about the job?

Collaboration. I love working with creative people and solving problems together—especially on technical sci-fi projects where you’re figuring out how to achieve something that seems impossible.

And I still get amazed by the process—when sets are dressed and lit, they transform completely. There’s always another layer of creativity being added.

Rate-setting is a big part of your role. How do you approach it?

It’s always a negotiation. I try to build rates transparently with Production, using averages based on the scale and complexity of the show and the job involved, and then negotiate with crew.

On more technical or high-risk shows, I push harder for higher rates—especially for senior roles—because experience directly impacts safety and quality.

There’s always pressure on budgets, though. No matter the size of the production, the ask always increases proportianally, so there’s never enough time, money, or people.

What are your thoughts on a ratified rate card?

I think it would help create clarity and stability for both crew and Production. But it does require compromise—some people’s rates might come down initially. We’ve seen that happen in Construction, but it’s balanced out over time. Overall, I think it would reduce stress and make the industry less of a “Wild West.”

How do you usually get hired?

Mostly through recommendations—from Supervisors I’ve worked with before, or Designers I already know.

I’ve only recently started actively looking for Supervising work, and it’s harder than I expected. There are relatively few Designers, and projects are often kept under wraps until confirmed.

Networking and relationships are key.

It’s so quiet at the moment. Do you have any advice for crew trying to get in front of Supervisors like yourself?

Don’t be afraid to reach out—cold emails or messages are fine. Just keep them concise.

The same goes for portfolios: quality over quantity. Put your best work first and keep it tight. If I don’t see something strong within the first few pages, I won’t keep scrolling.

What does your first week on a job look like?

Reading the script, doing breakdowns, and—most importantly—understanding the Production Designer.

It’s about figuring out how they think, how they communicate, and what they need from me, and how they engage with their Art Department. Once I understand that, I can do my job properly.

At the same time, I’m looking at Construction—who the team will be and starting to get my head around how we’re going to build everything. I'm also looking at the availability of Art Deparment crew.

Finally, how do you spend your time off?

Paddleboarding! I take my board everywhere—much to Production’s annoyance. If there’s water nearby, I’m on it.

Otherwise, it’s just spending time with friends, relaxing, and catching up on sleep—lots of sleep between jobs!