In making Maestro, his magisterial portrait of Leonard Bernstein, Bradley Cooper set out to explore the life of the legendary American conductor and composer through the lens of his complicated relationship with wife Felicia Montealegre, which lasted from the 1940s until her death in 1978. Depicting their love story across four decades, two engagements and three children, Cooper—who directed, co-wrote, co-produced and starred in the biopic—often approached Maestro “as if he was conducting a musical symphony,” according to production designer Kevin Thompson. Envisioning its story in movements, Cooper opted for period shifts in color and black-and-white (both in a 1.33 […]
Ahead of the first-ever International Production Design Week, the Production Designers Collective has coordinated a series of interviews with directors and production designers, in which they discuss their working dynamics and mutual passion for the craft of storytelling. Ethan Tobman describes production design as the art of “visually interpreting the world of a director through emotional architecture.” Below, he and director Mark Mylod discuss their film The Menu and going from reference images on the wall to a fully realized world structured to best absorb the viewer emotionally while furthering the narrative (along with meticulously crafting a last-minute birthday cake […]
Ahead of the first-ever International Production Design Week, the Production Designers Collective has coordinated a series of interviews with directors and production designers, in which they discuss their working dynamics and mutual passion for the craft of storytelling. At the heart of production designer Akin McKenzie and writer-director Terence Nance’s long-running collaboration is a mutual recognition of the importance of, as Nance puts it, “creative execution that flows from emotional framework.” The two first worked together on the Peabody-award-winning HBO show Random Acts of Flyness and went on to create Space Jam: A New Legacy and award-winning commercial campaigns for […]
Ahead of the first-ever International Production Design Week, the Production Designers Collective has coordinated a series of interviews with directors and production designers, in which they discuss their working dynamics and mutual passion for the craft of storytelling. In the first episode of The Wilds, one of the main characters is introduced via a quick beat of her smoking a cigarette on her family’s back deck with a nicotine-stained, pink flamingo ashtray nestled on the rail nearby. Sara K White, the show’s production designer, recalls: “We were working to build out Dot’s character—a girl who doesn’t come from money and […]
Ahead of the launch of the first-ever International Production Design Week, the Production Designers Collective has coordinated a series of meetings between directors and production designers in which they discuss the particularities about their working dynamics as well as how production design can elevate the vision of a filmmaker. Derek Cianfrance and Inbal Weinberg first collaborated on Blue Valentine, which set the stage for exploration and discovery. They continued to experiment with environment and process on such projects as The Place Beyond The Pines and I Know This Much Is True. Here they discuss the delicate balance of artifice and authenticity […]
Ahead of the first-ever International Production Design Week, the Production Designers Collective has coordinated a series of interviews with directors and production designers, in which they discuss their working dynamics and mutual passion for the craft of storytelling. Below, is the first of these conversations published at Filmmaker, a conversation between production designer Jade Healy and director David Lowery. Their first collaboration had them wearing different hats. Shot in Costa Rica, It Was Great, But I Was Ready to Come Home was written by four friends, among them Jade Healy, an actress, and David Lowery, sound designer and editor. Years later, as […]
Neither Barbie production designer Sarah Greenwood nor set decorator Katie Spencer had Barbie dolls growing up. “Or a DreamHouse, or anything,” recalls Greenwood, who joined Filmmaker on Zoom alongside Spencer following the record-breaking opening of Greta Gerwig’s feminist smash hit. “I was probably a little judgmental about Barbie until this film — I fell into that camp. But I kind of readdressed my thoughts after meeting this Barbie, and [its creator] Ruth Handler.” Spencer adds, “And [after] meeting Greta. We were a part of the backlash generation. Even if we wanted a Barbie, I don’t know that our parents would have […]
Though Wes Anderson’s films can be seen as the product of the director’s sharp imagination, the finished work is nothing without those who turn his thoughts into spreadsheet-enabled reality. Most of the physical things on screen—the punctilious graphic design on signs and cards, the actual locations, the trimmed sets and the giant buildings in the distance that exist just to fill up white space—exist thanks to production designer Adam Stockhausen, who has been Anderson’s go-to since 2012’s Moonrise Kingdom. Stockhausen has noted his fondness for planning productions in an old-fashioned, tactile way which likely appeals not only to the very […]
“An ominous slender figure in the foreground, a gay couple kissing in the distance, alleyway, two-point perspective, at night, a bar crowded, 8K, cinematic, cinematic composition, in the style of Jean-Luc Godard, rendered in the Gaspar Noe engine.” Via Zoom, Natou Fall shares her screen with me, allowing me to look at the hundreds of images she’s created using text prompts in the generative AI program Midjourney. The image resulting from the prompt above is an eerie one of a silhouetted couple holding hands, both wearing fashionable flared jackets and standing in a sparse, neon-accented nightclub with a figure lurking […]
Production designer Rick Carter caught the eye of Steven Spielberg when he was art director on The Goonies and first worked with him directly on the pilot of Spielberg’s anthology series Amazing Stories. Spielberg told him the minimal amount of train he needed for the episode; Carter ended up giving him more without increasing the budget. “I think I have an ability to prioritize what’s important so that I can put the resources into [those] elements, whether it’s the set or visual effects or any other aspect of the movie,” says Carter. Starting with Jurassic Park, Carter has served as […]