Category Archives: Awards

by | February 27, 2012 · 9:00 AM

Dante Ferretti’s Best Art Direction Oscar Speech

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Tom Hanks hands husband and wife team, Dante Ferretti and Francesca Lo Schiavo their Oscars for Best Art Direction

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Dante Ferretti was the only winner to thank his crew, let alone any below-the-line crew. Films get made on the backs of their crew and I was so pleased to see that Dante respects his crew enough to thank them. It was lovely to see him win his 3rd Oscar for his staggering work on Hugo which topped my list for best production design this past year. For once the Academy had it right. Below is Dante Ferretti’s acceptance speech:

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“Thank you to the Academy for this prestigious award. A great thank you goes to the producer Graham King and Tim Headington. To all my art department. But the most of all my very special thank you to a eccezionale of director who guide us through this wonderful journey, Martin Scorsese. Thank you, thank you, thank you very much. Grazie, Martin.”
– Dante Ferretti, Production Designer

“This is for Martin and for Italy.”
– Francesca Lo Schiavo, Set Decorator

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For a list of all the nominees and winners of the 84th Academy Awards, click here.

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Were you happy with Hugo winning the Academy Award for Best Art Direction? Did you enjoy the Oscars?

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Rose XO.

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by | February 26, 2012 · 12:00 PM

Art DepartMENTAL’s Top 10 Best Production Design of 2011

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After some long and hard deliberations I have pared down what are, in my opinion, the top 10 best production designed/art directed films of 2011. In the end, given the subjectivity of film in general,  all this means is these were my design favourites. Going through the many films I had on my list I was awestruck at the diversity, styles and overall quality of so many of the films. 2011 was really a banner year for production design the way I see it. Last year, I found it easy to just do a top 5 but this year I found it impossible not to do a top 10 and I easily could have made it a top 20.

So I just want to say to everyone who worked on these films- Bravo! Sincerely, you all deserve a pat on the back and a bottle of booze on me. I have the utmost respect for you all. Those who work in the art department know how hard it is; we know these sets don’t come together like magic. It’s an intense endurance run to the finish line mustering up every skill you’ve ever learned on a whim. It’s a hard gig but thrilling if you can get it.

To all those past, present and future working in art departments all over the world to make visions come to life- I salute you. You truly make movies better and don’t let anyone tell you differently.

Cheers & Enjoy!

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10) THE HELP

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Production Designer: Mark Ricker | Art Director: Curt Beech | Set Decorator: Rena DeAngelo | Director: Tate Taylor | DOP: Stephen Goldblatt | Costume Designer: Sharen Davis

The Help Trailer

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9) SHAME

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Production Designer: Judy Becker | Art Director: Charles Kulsziski | Set Decorator: Heather Loeffler | Director: Steve McQueen | DOP: Sean Bobbitt | Costume Designer: David C. Robinson

Shame Trailer

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8) DRIVE

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Production Designer: Beth Mickle | Art Director: Christopher Tandon | Set Decorator: Lisa K. Sessions | Director: Nicolas Winding Refn | DOP: Newton Thomas Sigel | Costume Designer: Erin Benach

Drive Trailer

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7) THE DESCENDANTS

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Production Designer: Jane Ann Stewart | Art Director: T.K. Kirkpatrick | Set Decorator: Matt Callahan | Director: Alexander Payne | DOP: Phedon Papamichael | Costume Designer: Wendy Chuck

The Descendants Trailer

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6) THE ARTIST

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Production Designer: Laurence Bennett | Art Director: Gregory S. Hooper | Set Decorator: Austin Buchinsky & Robert Gould | Director: Michel Hazanavicius | DOP: Guillaume Schiffman | Costume Designer: Mark Bridges

The Artist Trailer

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5) MIDNIGHT IN PARIS

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Production Designer: Anne Seibel | Art Director: Jean-Yves Rabier | Set Decorator: Hélène Dubreuil | Director: Woody Allen | DOP: Darius Khondji & Johanne Debas | Costume Designer: Sonia Grande

Midnight in Paris Trailer

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4) THE TREE OF LIFE

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Production Designer: Jack Fisk | Art Director: David Crank | Set Decorator: Jeanette Scott | Director: Terrence Malick | DOP: Emmanuel Lubezki | Costume Designer: Jacqueline West

The Tree of Life Trailer

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3) TINKER TAILOR SOLDIER SPY

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Production Designer: Maria Djurkovic | Art Director: Tom Brown & Zsuzsa Kismarty-Lechner | Set Decorator: Tatiana MacDonald | Director: Tomas Alfredson | DOP: Hoyte Van Hoytema | Costume Designer: Jacqueline Durran

Tinker Tailor Soldier Spy Trailer

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2) HARRY POTTER AND THE DEATHLY HALLOWS: PART 2

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Production Designer: Stuart Craig | Art Director: Neil Lamont & Gary Tomkins | Set Decorator: Stephenie McMillan | Director: David Yates | DOP: Eduardo Serra | Costume Designer: Jany Temime

Harry Potter and the Deathly Hallows: Part 2 Trailer

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1) HUGO

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Production Designer: Dante Ferretti | Art Director: David Warren | Set Decorator: Francesca Lo Schiavo | Director: Martin Scorsese | DOP: Robert Richardson | Costume Designer: Sandy Powell

Hugo Trailer

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Winning by just a hair Hugo took my top spot due to complexity of 3D, different time periods done to superb perfection as well as the overall romantic and lush look of a film in love with film.

Which were your favourites in production design this year?

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Rose XO.

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by | January 24, 2012 · 12:00 PM

The 84th Academy Award Nominations [and Winners] are…

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[UPDATED FEB 26th: Winners listed with an * in red below]

At 8:30am EST this morning the Academy Award nominees were announced. Hugo led with 11 nominations followed by The Artist with 10. Noticeable snubs included Michael Fassbender, Ryan Gosling and Michael Shannon among others as well as their amazing films Shame, Drive and Take Shelter. Most shocking of all was the Best Picture nomination for Extremely Loud & Incredibly Close as the film has not been all that well-received.

I personally was sad to see The Tree of Life snubbed in the Best Art Direction category as I think Jack Fisk brings with the goods each and every time and still hasn’t won an Oscar for his beautiful and restrained work but it was such a tight category this year. Overall I’m pleased with the craft categories but they really missed the mark with the major categories. They do this every year so I’m not sure why I’m surprised. I like to look at the positive though: At least Robert Stromberg will not be winning an Academy Award this year and with any luck nobody will pull out a hat to put on their Oscar. I could not have handled a threepeat.

I was also very pleased to see French Canadian film Monsieur Lazhar nominated for Best Foreign Language Film as well as Polish & Canadian co-production In Darkness in the same category. I don’t say it enough but I am very proud to be Canadian.

The 84th Academy Awards will be presented on Sunday, February 26, 2012. Here is the full list of Oscar nominees:

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BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

Bérénice Bejo for The Artist (2011)

Jessica Chastain for The Help (2011)

Janet McTeer for Albert Nobbs (2011)

* Octavia Spencer for The Help (2011)

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BEST ACHIEVEMENT IN DIRECTING

BEST WRITING, SCREENPLAY WRITTEN DIRECTLY FOR THE SCREEN

BEST WRITING, SCREENPLAY BASED ON MATERIAL PREVIOUSLY PRODUCED OR PUBLISHED

BEST ANIMATED FEATURE FILM OF THE YEAR

BEST FOREIGN LANGUAGE FILM OF THE YEAR

Bullhead (2011): Michael R. Roskam(Belgium)

Footnote (2011): Joseph Cedar(Israel)

In Darkness (2011): Agnieszka Holland(Poland)

* A Separation (2011): Asghar Farhadi(Iran)

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BEST ACHIEVEMENT IN COSTUME DESIGN

BEST ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES, ORIGINAL SCORE

BEST ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES, ORIGINAL SONG

* The Muppets (2011): Bret McKenzie (“Man or Muppet”)

Rio (2011): Sergio Mendes, Carlinhos Brown, Siedah Garrett (“Real in Rio”)

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BEST SHORT FILM, LIVE ACTION

* The Shore: Terry George, Oorlagh George

Tuba Atlantic (2010): Hallvar Witzø

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What do you think of the nominations [and winners]? What were your favourite films of 2011? Let us know what you think.

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Rose XO.

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by | September 7, 2011 · 6:00 PM

Art DepartMENTAL @ TIFF ’11

Tomorrow the 2011 Toronto International Film Festival officially starts its 36th year fully settled in its new home, the TIFF Bell Lightbox. This year it is 11 days from Sept 8-18 and will showcase 339 films- 258 features and 81 shorts. It is the largest public festival in the world and I would say second in popularity only to Cannes. Even the Guardian thinks Venice is scared of Toronto’s new found prowess.

I have been attending the festival for the past 8 years and every year I look forward to it more and more. This is the first year I will be going to TIFF as an Industry member and this has me more excited (and nervous) than ever before. I’m looking forward to networking and continuing my journey to learn this business inside and out. I know a lot of you out there have never been to TIFF or any film festival like it and do not understand all of the hype and hoopla associated with the festival. It’s hard to describe it but it’s sort of like an amusement park run in celebration of the beauty and transcendence of the moving image. To those who love cinema it’s Christmas in September. One film after another of the very best this World has to offer not to mention the electric vibe the city of Toronto has when it’s glowing in the TIFF spotlight.

Like last year I will be live tweeting again (@artdepartmental) from the festival and be sure to follow the TIFF hashtag #TIFF11 to get the inside scoop on what’s hot, what’s not and what’s being bought.

Programme, schedules & hooch during my 16 hour wait for TIFF tickets.

New this year, I will be posting a daily TIFF Diary for the 11 days of the festival letting you know what’s happening at the festival and my general experience as I attend approximately 40 movies in addition to panels, seminars, and parties. To stay updated you can bookmark Art DepartMENTAL, like us on Facebook, or you can subscibe via email or our RSS feed. As always I will try my best to cover the very best of the fest in production design glory. I hope you will come along for the ride!

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Are you attending TIFF ’11? If you are too far to attend, which films playing at TIFF’11 are you anxious to see or hear more about?

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Rose XO.
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by | August 31, 2011 · 6:00 PM

EXCLUSIVE: An Inside Look at the Production Design of The Kennedys

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By now you’ve probably heard a little something about the Emmy nominated 8-Part Television Miniseries, The Kennedys, but today I want you to pay attention to the one aspect of the production that wasn’t blabbed about much in the media- the astoundingly skilled production design. Forget what you’ve heard about the show and judge for yourself. No matter what the media says with their half truths I hope you had the opportunity to watch The Kennedys during its original air dates and if not you’re in luck because it will be released on DVD September 20th in North America.

The Kennedys Production Designer Rocco Matteo, Art Director Mun Ying Kwun, and Set Decorator Enrico Campana did a superb job creating a period piece that was authentic and historically accurate but remained fresh in its design aesthetic. Challenged with over 125 sets, shooting in Toronto, with 3 months prep, a 70 day shoot, and an increasingly limited budget, Rocco, Mun Ying and Enrico had to work quickly and efficiently with all of their various teams to pull off miracles. Armed with 3 hard drives full of research, a team of 5 core art department professionals, several weekly players, and a top notch Construction, Set Dec, and Props Department they were able to make it work.

I have had the great fortune to see a lot of the photos, drawings, pre-production materials and research used on The Kennedys by the art department as well as speaking with many on its creative team and what I have seen has made my jaw drop so much I HAD to share it with you all. Below are never before-seen photos and stills given to me by Production Designer, Rocco Matteo, used here with permission, of course.

The Kennedys Production Design has been recognized with a Best Production Design nomination at the 2011 Gemini Awards, also receiving a 2011 Emmy Award nomination for Best Art Direction in a Mini-Series.

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The Trailer:

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A Look at the Sets:

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EXT. HYANNIS PORT- JOE SR’s HOME

For Rose and Joe Sr’s house the construction team built the bottom porch in this public park just outside downtown Toronto. The top of the home is actually CGI. Lots of landscaping was added to create a driveway, path and to more accurately portray Hyannis Port.

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INT. HYANNIS PORT- JOE SR’S HOME- SUN ROOM

Built porch, added greens to exterior area, painted and dressed the location in Cobourg, Ontario in an empty front storage area/sun room.

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INT. ATTORNEY GENERAL’S OFFICE

Full build in studio.

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EXT. WHITE HOUSE- WEST WING COLONNADE

Full build in studio.

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INT. WHITE HOUSE- OVAL OFFICE- LATE 1962

An existing standing set in Kleinburg, Ontario was used for the Oval Office with extensive renovations to add the terrace, the backdrop and a fully built addition of the Presidential Secretary’s office as well as the outer office which came directly off of the Oval Office. This space also required a full dress by the Set Dec team. Many set decorations and dressings had to be made from scratch when they could not be found in order to maintain the authenticity of the period. For example the lamp on the desk, the globe lamp in front of the foremost left window, and the couches among other pieces were fabricated for the show. No stone was left unturned, even the book spines were created by the art department’s graphic designer.

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INT. WHITE HOUSE- SECRETARY’S OFFICE (Unlit, House Lights on)

Pictured above is the Presidential Secretary’s office which hangs off the Oval Office which was previously non-existent in the standing set. The Kennedys team went to great lengths to shoe horn this set into the relatively small studio to ensure its relation to the Oval Office was authentic. This included making the Oval Office side doors practical which were previously not built to open.

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INT. WHITE HOUSE- WEST SITTING HALL

Full build in studio.

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INT. WHITE HOUSE- CABINET ROOM

Full build in studio. The board room table was designed and built specifically for the project to be historically accurate. It was so large it had to be constructed in 3 pieces and put together on site.

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INT. WHITE HOUSE- GRAND HALL

An empty standing set that required a full dress including the artwork, draperies, chandeliers, furniture and even custom made torchieres.

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INT. WHITE HOUSE- WEST SITTING HALL, KIDS PLAY ROOM

Full build in studio.

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INT. WHITE HOUSE- JACKIE’S ROOM

Full build in studio. The picture above is from a scene in the Kennedys with the set fully lit and colour corrected in post. Below are Rocco’s personal set photos of the set fully dressed and ready for camera with only the houselights on.

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INT. WHITE HOUSE- JACKIE’S ROOM (Unlit- House Lights on)

Like most of the sets, Rocco and his team analyzed all of the artwork in historical photos from the vast amount of research they collected and recreated similar themed and coloured artwork. Therefore every piece of artwork you see in The Kennedys was a recreation done by the graphic designer, changed just enough to make it through the clearance process since most of the artwork from that time period is not yet in the public domain.

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INT. WHITE HOUSE- JACKIE’S ROOM (Unlit, House Lights on)

The opposite side of Jackie’s Bedroom. All draperies and linens were custom made for the project. If the correct furniture could not be sourced from around the globe it was also built from scratch. Authenticity was very important to the filmmakers, Rocco and his team.

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INT. WHITE HOUSE- JACK’S ROOM (Unlit- House Lights on)

Full build in studio. This is Jack’s Bedroom which adjoins Jackie’s Bedroom. JFK and Jackie did not sleep in the same bedroom. John had turned what was supposed to be the living room in the West Sitting Area of the White House into his very own bedroom. Rocco made sure to keep the geography the same so every room would correctly relate to each other. You can see into Jackie’s Room through the door. Wild walls were also used to make sure the shoot crew always had enough space to shoot despite keeping the geography of the actual space accurate.

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INT. WHITE HOUSE- JACK’S ROOM (Unlit, House Lights on)

A view of Jack’s bedroom facing the opposite side. That door heads to the hallway in the West Sitting Room.

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Have you seen The Kennedys Miniseries? What do you think of the production design?

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Rose XO.

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Sources: Rocco Matteo, Muse Entertainment, and Reelz Channel. Used with permission.
Full Disclosure: I am currently employed with Rocco Matteo and Mun Ying Kwun on a different television series. I did not work on The Kennedys.
All photos, video, and content is copyrighted. 2011

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by | August 8, 2011 · 4:00 PM

The 2011 Gemini Awards Nominations for Best Production Design are…

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The Academy of Canadian Cinema & Television announced their nominations for the 26th Annual Gemini Awards, celebrating the best in Canadian English language television and digital media this past Wednesday.

Celebrations for the 26th Annual Gemini Awards will take place over three nights in Toronto beginning Tuesday Aug. 30 and continuing Wednesday Aug. 31 at the Metro Toronto Convention Centre, culminating September 7 at the CBC with a live broadcast on CBC Television.

Listed below are the two sets of nominations for Best Production Design or Art Direction. For the complete list of nominations, please visit: www.GeminiAwards.ca

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Best Production Design or Art Direction in a Fiction Program or Series

Republic of Doyle – Don’t Gamble With City Hall
CBC (CBC)
Gordon Barnes
Flashpoint – Acceptable Risk
CTV (Bell Media)
John Dondertman, Elizabeth Calderhead
The Kennedys
History Canada (Shaw Media)
Rocco Matteo
Sanctuary – Normandy
Space (Bell Media)
Bridget McGuire
The Borgias – The Poisoned Chalice/The Assassin
Bravo! CTV (Shaw Media)
François Séguin

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Best Production Design or Art Direction in a Non-Fiction Program or Series

Breakout – Pittsburgh Six
Discovery Canada (Bell Media)
Andrew Berry
The 2011 Juno Awards
CTV (Bell Media)
Peter Faragher
Season of Song: The Canadian Tenors and Friends
CBC (CBC)
Callum MacLachlan
2010 MuchMusic Video Awards
CTV-MuchMusic (Bell Media)
Michael “Spike” Parks
Storming Juno
History Television (Shaw Media)
Brian Rice, Lyle Jobe
Everyday Exotic – Peking Duck
Food Network Canada (Shaw Media)
Elisa Sauve

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Which shows are you rooting for? Are you pleased with the nominations?

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Rose XO.

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by | July 14, 2011 · 2:27 PM

The 2011 Emmy Nominations for Outstanding Art Direction are…

This morning the Emmy nominations were announced and luckily there was some truly stunning television work this past year. Just because it’s on the small screen doesn’t mean it can’t be visually splendorous. The following nominations prove this very point:

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Outstanding Art Direction For A Multi-Camera Series

The Big Bang Theory • The Love Car Displacement • The 21-Second Excitation • The Agreement Dissection • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television

John S. Shaffner, Production Designer

Francoise Cherry-Cohen, Art Director

Ann Shea, Set Decorator

Hot In Cleveland • Sisterhood Of The Traveling SPANX© • I Love Lucci: Part Two • LeBron Is Le Gone • TV Land • Hudson Street Productions

Michael Andrew Hynes, Production Designer

Maralee Zediker, Set Decorator

How I Met Your Mother • Subway Wars • Natural History • CBS • Twentieth Century Fox Television

Stephan G. Olson, Production Designer

Susan Eschelbach, Set Decorator

Mike & Molly • Pilot • CBS • Bonanza Productions, Inc. in association with Chuck Lorre Productions, Inc. and Warner Bros. Television

John S. Shaffner, Production Designer

Ann Shea, Set Decorator

Rules Of Engagement • Last Of The Red Hat Lovers • Singing And Dancing • The Set Up • CBS • Happy Madison Productions and CBS Television Studios in association with Sony Pictures Television

Bernard Vyzga, Production Designer

Jerie Kelter, Set Decorator

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Outstanding Art Direction For A Single-Camera Series

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Boardwalk Empire • Boardwalk Empire (Pilot) • HBO • Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions in association with HBO Entertainment

Bob Shaw, Production Designer

Douglas Huszti, Art Director

Debra Schutt, Set Decorator

The Borgias • Lucrezia’s Wedding • Showtime • Showtime Presents in

association with Take 5 Productions and Octagon Films

Francois Seguin, Production Designer

Jonathan McKinstry, Art Director

Judit Varga, Set Decorator

Mad Men • Public Relations • AMC • Lionsgate Television

Dan Bishop, Production Designer

Christopher L. Brown, Art Director

Claudette Didul, Set Decorator

Modern Family • Halloween • ABC • Twentieth Century Fox Television

Richard Berg, Production Designer

Amber Haley, S.D.S.A., Set Decorator

True Blood • Beautifully Broken • It Hurts Me Too • Trouble • HBO • Your Face Goes Here Entertainment in association with HBO Entertainment

Suzuki Ingerslev, Production Designer

Cat Smith, Art Director

Laura Richarz, S.D.S.A., Set Decorator

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Outstanding Art Direction For A Miniseries Or Movie

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Downton Abbey (Masterpiece) • PBS • A co-production of Carnival and Masterpiece

Donal Woods, Production Designer

Charmian Adams, Art Director

Gina Cromwell, Set Decorator

The Kennedys • ReelzChannel • A Muse Entertainment Production in association with Asylum Entertainment

Rocco Matteo, Production Designer

Mun Ying Kwun, Art Director

Enrico Campana, Set Decorator

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For a list of all the nominations click here.

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Which television show or mini-series are you happy to see nominated?

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Rose XO.

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by | March 11, 2011 · 4:00 PM

The Winners of the 31st Genie Awards Are…

I never imagined I’d post a pic of William Shatner ever.

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Last night the Genie Awards aired live in Ottawa and were hosted by William Shatner of all people. Incendies came out victorious with nine wins but lost in the Art Direction category to Barney’s Version which I find very unfortunate. Here’s a list of all the winners…

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BEST MOTION PICTURE / MEILLEUR FILM
INCENDIES – Luc Déry, Kim McCraw

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ACHIEVEMENT IN ART DIRECTION/PRODUCTION DESIGN / MEILLEURE
DIRECTION ARTISTIQUE
CLAUDE PARÉ, ELISE DE BLOIS – Barney’s Version

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ACHIEVEMENT IN COSTUME DESIGN / MEILLEURS COSTUMES
NICOLETTA MASSONE – Barney’s Version

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ACHIEVEMENT IN CINEMATOGRAPHY / MEILLEURES IMAGES
ANDRÉ TURPIN – Incendies

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ACHIEVEMENT IN DIRECTION / MEILLEURE RÉALISATION
DENIS VILLENEUVE – Incendies

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ACHIEVEMENT IN EDITING / MEILLEUR MONTAGE
MONIQUE DARTONNE – Incendies

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ACHIEVEMENT IN MAKE-UP / MEILLEURS MAQUILLAGES
ADRIEN MOROT, RÉJEAN GODERRE, VALLI O’REILLY, MICHELINE TRÉPANIER -
Barney’s Version

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ACHIEVEMENT IN MUSIC – ORIGINAL SCORE / MEILLEURE MUSIQUE ORIGINALE
PASQUALE CATALANO – Barney’s Version

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ACHIEVEMENT IN MUSIC – ORIGINAL SONG / MEILLEURE CHANSON ORIGINALE
MARY MILNE – THE TROTSKY – “Already Gone”

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PERFORMANCE BY AN ACTOR IN A LEADING ROLE / INTERPRÉTATION MASCULINE DANS UN PREMIER RÔLE
PAUL GIAMATTI – Barney’s Version

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PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE / INTERPRÉTATION MASCULINE DANS UN RÔLE DE SOUTIEN
DUSTIN HOFFMAN – Barney’s Version

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PERFORMANCE BY AN ACTRESS IN A LEADING ROLE / INTERPRÉTATION FÉMININE DANS UN PREMIER RÔLE
LUBNA AZABAL – Incendies

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PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE / INTERPRÉTATION FÉMININE DANS UN RÔLE DE SOUTIEN
MINNIE DRIVER – Barney’s Version

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ACHIEVEMENT IN OVERALL SOUND / MEILLEUR SON D’ENSEMBLE
JEAN UMANSKY, JOCELYN CARON, JEAN-PIERRE LAFORCE, BENOIT LEDUC – Incendies

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ACHIEVEMENT IN SOUND EDITING / MEILLEUR MONTAGE SONORE
SYLVAIN BELLEMARE, SIMON MEILLEUR, CLAIRE POCHON – Incendies

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ORIGINAL SCREENPLAY / MEILLEUR SCÉNARIO
JACOB TIERNEY – The Trotsky

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ADAPTED SCREENPLAY / MEILLEURE ADAPTATION
DENIS VILLENEUVE – Incendies

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BEST DOCUMENTARY / MEILLEUR DOCUMENTAIRE
LAST TRAIN HOME – Lixin Fan, Mila Aung-Thwin, Daniel Cross

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BEST LIVE ACTION SHORT DRAMA / MEILLEUR COURT MÉTRAGE DRAMATIQUE
SAVAGE – Lisa Jackson, Lauren Grant, Lori Lozinski

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BEST ANIMATED SHORT / MEILLEUR COURT MÉTRAGE D’ANIMATION
LIPSETT DIARIES / LES JOURNAUX DE LIPSETT – Theodore Ushev, Marc Bertrand

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SPECIAL AWARDS

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CLAUDE JUTRA AWARD/ PRIX CLAUDE-JUTRA
JEPHTÉ BASTIEN, Sortie 67
Honourable Mention: PETER STEBBINGS, Defendor

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GOLDEN REEL AWARD/ PRIX DE LA BOBINE D’OR
Resident Evil: Afterlife – Don Carmody, Jeremy Bolt, Robert Kulzer (Distributor: Alliance Films)

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For more information about the 31st Annual Genie Awards, visit www.genieawards.ca.

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Did you watch? What did you think?

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Rose XO.

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by | March 10, 2011 · 1:00 PM

GENIE AWARDS: The Production Design Nomination Process with Jasna Stefanovic

Jasna Stefanovic has been a Production Designer for 20 years and has designed under some of the best directors of our time including Sofia Coppola on The Virgin Suicides and Terry Gilliam on Tideland. Constantly taking risks and unafraid to take on smaller projects she is a shining light in our Canadian film industry and in my opinion rightly chosen to participate in the Nomination Committee this year for the 31st Genie Awards in the Production Design craft category. The 31st Genie Awards will be announced and aired live tonight in Ottawa at 8pm at the National Arts Centre. For a full list of the nominees click here.

I asked Jasna about the process of nominating in an often misunderstood category and her feelings on the roster of Canadian films in 2010 among other things. Here’s what Jasna had to say:

Jasna Stefanovic

Rose: Have you been nominated for a Genie Award for Best Production Design in the past?

Jasna: Yes.  I was nominated twice.  Once for Vincenzo Natali’s ‘Cube’ in 1998, and the other for Terry Gilliam’s ‘Tideland’ in 2006.

How did you become a member of the 2010 Nominee Committee for the 31st Genie Awards?

They contacted me in late November 2010 and asked me if I wanted to participate.

Were you given a strict set of nomination criteria in order to make a decision on the nominations for Best Production Design?

Definitely. I received the ‘Committee Handbook’.  I also spoke with Guy Lavallee, the Craft Committee Chairman.  He assisted me in understanding the process and the criteria.

The first thing was the most obvious, to watch all the films submitted in their entirety.  There were numerous points that were recommended for me to look out for.  The breakdown was in two sections.  The first was the ‘creativity and concept’.  It had things like ‘did the design concept reinforce, sustain and develop the film?’  The other was the ‘execution and finish’ which dealt with the professional quality and consistency of the design.

How did you reach your decision in the end and on what basis?

The first thing I did was to skip the credits of the film so that I would not know who was involved in the film. I wanted to make sure my objectivity was intact.

I was looking for design that reinforced and contributed to the film’s mood and message.  I was also looking for consistency throughout the film and some element of originality.  Then there was the execution of technical elements, like construction and set painting.  Even though I had a checklist for what made good design, a lot of it was based on my instinct that came from years of experience.

If you could single-handedly award the winner for Best Production Design at the Genies which film would you choose?

I had no problem narrowing it down to five best Production Designs, but I found it almost impossible to choose the best one.  One film did surprise me was “Incendies“. At first I was sure it was just great locations in another county, but then I found out a lot of it was built and manufactured with the guidance of the Production Designer Andre Line Beauparlant.  So that would have been one of my favourite ones.

How much do you believe politics factor into the nomination process for the Nomination Committee?

I was quite naive in understanding what ‘politics’ actually meant in the judging process.  I did encounter a few ‘bumps’  but overall it was very honest and fair.

What was your favourite Canadian film of the year?

“Incendies”.

Were you particularly surprised by any of the films this year?

Yes.  I was absolutely charmed by “Les Amours Imaginaires” (Heartbeats).  It was such a simple film, but so joyous, so fresh, I was hypnotized by it. Then I found that Xavier Dolan not only directed it, he was also the main actor, the editor, the costume designer and the production designer. I’m now a fan of his.

Many people say that the French have the upper hand on filmmaking in Canada. Have you found that fair to say?

Absolutely.  They have a unique self sustaining audience that is passionate about their films.

So of course they keep making them.  It was great to get pulled into that world.

In your opinion are Canadian films visual enough? Should we be going further despite our extensive budget limitations?

We could all learn a thing or two from “Les Amours Imaginaires” (Heartbeats).  It was a small low budget film that had a lush visual flair to reach a broad audience.

What makes for extraordinary production design?

It starts with a director that knows how to take advantage of all the things a good Production Designer can bring to the project.  And a good Director of Photography that can capture and enhance the design.  Film is a collaborative effort where all the pieces have to fit.

Has the nomination process changed the way you analyze filmmaking and/or production design?

I think so. It reminded me how deliberate you must be in designing a film.  How you must develop and follow through with a theme, the idea.   You can’t be sloppy.  You have to take the bull by the horns and be bold.  Whether you are directing, writing or designing, you have to firmly follow through … and know your craft.  Because if you don’t, a good film just won’t happen by accident.

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Thoughts? Will you watch the Genie Awards tonight?
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Rose XO.
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You can learn more about Jasna Stefanovic and her work on her website: http://www.jasnastefanovic.com/

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Filed under Art Direction, Awards, Design LOVE, Film HAPPINESS, Film INDUSTRY, Production DESIGN, Question & ANSWER

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by | February 28, 2011 · 10:19 AM

The Academy Award for Best Art Direction goes to… Alice in Wonderland?

Thumbs down. Thumbs way down. Down, buried in the grave yard of dead art direction down. Wonderland is where art direction goes to die.

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Robert Stromberg thinks he’s a) funny or b) cute by putting a ‘Mad Hatter’ hat on his Oscar. How presumptuous to have it made and how insulting it is to the other nominees. Truly tasteless.

I realize that I shouldn’t bad mouth any production designer at this stage in my career but I’m sorry, I can’t help it. This was the worst choice the Academy could have made. If I were to order the strength of the nominees in the order that I see fit, Alice in Wonderland would have been on the bottom and in my books not even nominated. I think at this point the Academy just nominates all Tim Burton films no matter what and generally I’m okay with that as a big Tim Burton fan but when the film looks like a ghetto floral shop exploded on the screen in a cartoon candy land not to mention the over-use of visual effects and greenscreen I do not abide.

When I look at some of the truly phenomenal and thoughtful art direction provided to us this year by masters of their craft I shake my head in disgust at the disregard shown at the Academy Awards last night. I don’t believe for a second those voters did their homework nor understood in definition what great art direction is or what it entails. If they had, Robert Stromberg could have kept that dumb little hat in his pocket.

Inception was robbed. Blind-folded, held at gunpoint, and robbed.

Sorry but this is just my opinion. I’ll write something a little more educated and intelligent when the steam stops coming out of my ears. Rant over.

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What did you guys think? Am I wrong?

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Rose XO.

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