Category Archives: PORN

PRODUCTION DESIGN PORN: Wes Anderson

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Wes Anderson is one of the most influential filmmakers of his generation. With storybook-like imagery, and highly stylized production design and cinematography he is the definition of an auteur and certainly one of my favourite filmmakers working today. His stories are as fun and interesting as his visual flair so it isn’t hard to see why he is nominated for an Academy Award this year alongside his Moonrise Kingdom co-writer, Roman Coppola for Best Original Screenplay.

While I feel I have a natural predisposition for visually bold filmmaking I’ve also fallen in love with Anderson’s aesthetic due to his wide variety of influences which uniformly affect his work. Peanuts, Orson Welles, Louis Malle, Jean-Luc Godard, Francois Truffaut, Martin ScorseseRichard LesterMike NicholsHal Ashby, and of course, J.D. Salinger, as discussed in this great essay from The Museum of the Moving Image, penetrate his work. As a cinephile and pop culture junkie it is that kind of attention to detail in all of his films that make him stand out in the crowd. What fascinates me most I suppose is what Matt Zoller Seitz refers to asmaterial synecdoche—showcasing objects, locations, or articles of clothing that define whole personalities, relationships, or conflicts.” This alone cuts to the core of what production design is and why Anderson’s films are so well-designed despite being logistically ambitious and overtly in your face.

Some may not like his singular vision of a quirky universe none of us will ever know but thankfully that has never stopped him. In a cinematic landscape often overloaded with over-rated cookie-cutter films made to sedate a seemingly unaware public, Wes Anderson’s films are a welcome breath of fresh air in my books.

Without further ado, here is this months ‘Production Design Porn’:

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BOTTLE ROCKET (1996)

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Logline: Bottle Rocket focuses on a trio of friends and their elaborate plan to pull off a simple robbery and go on the run.

Production Designer: David Wasco | Art Director: Jerry Fleming

Set Decorator: Sandy Reynolds-Wasco

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RUSHMORE (1998)

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Logline: The king of Rushmore prep school is put on academic probation.

Production Designer: David Wasco | Art Director: Andrew Laws

Set Decorator: Sandy Reynolds-Wasco

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THE ROYAL TENENBAUMS (2001)

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The Royal Tenenbaums

Royal Tenenbaums

Royal Tenenbaums

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Royal Tenenbaums

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Logline: An estranged family of former child prodigies reunites when one of their members announces he has a terminal illness.

Production Designer: David Wasco | Art Director: Carl Sprague

Set Decorator: Sandy Reynolds-Wasco

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THE LIFE AQUATIC WITH STEVE ZISSOU (2004)

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Logline: With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.

Production Designer: Mark Friedberg | Art Director: Stefano Maria Ortolani 

Set Decorator: Gretchen Rau

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THE DARJEELING LIMITED (2007)

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Logline: One year after their father’s funeral, three brothers travel across India by train in an attempt to bond with one another.

Production Designer: Mark Friedberg | Art Director: Adam Stockhausen 

Set Decorator: Suzanne Caplan Merwanji

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FANTASTIC MR. FOX (2009)

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Logline: An urbane fox cannot resist returning to his farm raiding ways and then must help his community survive the farmers’ retaliation.

Production Designer: Nelson Lowry | Art Director: Francesca Berlingieri Maxwell

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MOOONRISE KINGDOM (2012)

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Logline: A pair of young lovers flee their New England town, which causes a local search party to fan out and find them.

Production Designer: Adam Stockhausen | Art Director: Gerald Sullivan 

Set Decorator: Kris Moran

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Which of Wes Anderson’s films is your favourite?

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Rose Lagace | @artdepartmental

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Sources: The Museum of the Moving Image, Film Grab

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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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PRODUCTION DESIGN PORN: Martin Scorsese

Martin Scorsese at work on the set of The Departed

“Cinema is a matter of what’s in the frame and what’s out.”

-Martin Scorsese

From the mean streets of New York City to the days of Christ in desolate landscapes to the vast beauty of Paris in the 1930′s, let there be no question that Martin Scorsese is a master of visual storytelling. Great filmmakers don’t stop telling the story on the page, in the camera or in the cut, they continue to use the tool of environment and space: production design. Often times in Scorsese’s films the environment is another character. New York City is his most prominent character no matter which decade he sets his story.

The quote above is an important one for me and one I use very often when designing a film. What you have in the frame is as important as what you leave out. Everything you have in the frame is part of telling the story. It’s the details of the graphics in Travis Bickle’s apartment which were written into the script to the branded poker chips which you may have not noticed in Casino to the tiny tools dressed on the desk in Hugo’s living space, that make Scorsese’s worlds all-encompassing and believable. In a Scorsese film the one thing you can always count on is that every detail is accounted for.

Now obviously Scorsese himself does not implement these details but he demands the very best from his crew. Luckily, success has awarded him the opportunities to work with the very best in Production Design. His work with Production Designer Dante Ferretti is particularly epic and their collaborations together always leave me breathless. Hiring the right people, as they say, is half the battle.

So here now are those worlds. I warn you there are spoilers and violence ahead. Enjoy!

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Mean Streets (1973)

Art Department Unknown

Alice Doesn’t Live Here Anymore (1974)

Production Designer: Toby Carr Rafelson

Taxi Driver (1976)

Art Director: Charles Rosen | Set Decorator: Herbert F. Mulligan

New York, New York (1977)

Production Designer: Boris Leven | Art Director: Harry Kemm | Set Decorator: Robert De Vestel & Ruby R. Levitt

Raging Bull (1980)

Production Designer: Gene Rudolf | Art Director:  Alan Manser (L.A) & Kirk Axtell (L.A) | Set Decorator: Phil Abramson & Frederic C. Weiler

The King of Comedy (1983)

Production Designer: Boris Leven | Art Director: Lawrence Miller & Edward Pisoni | Set Decorator: George DeTitta Sr. & Daniel Robert

After Hours (1985)

Production Designer: Jeffrey Townsend | Art Director: Stephen J. Lineweaver | Set Decorator: Leslie A. Pope

The Color of Money (1986)

Production Designer: Boris Leven | Set Decorator: Karen O’Hara

The Last Temptation of Christ (1988)

Production Designer: John Beard | Art Director: Andrew Sanders | Set Decorator: Giorgio Desideri

Goodfellas (1990)

Production Designer: Kristi Zea | Art Director: Maher Ahmad | Set Decorator: Leslie Bloom

Cape Fear (1991)

Production Designer: Henry Bumstead | Art Director: Jack G. Taylor Jr. | Set Decorator: Alan Hicks

The Age of Innocence (1993)

Production Designer: Dante Ferretti | Art Director: Speed Hopkins | Set Decorator: Robert J. Franco & Amy Marshall

Casino (1995)

Production Designer: Dante Ferretti | Art Director: Jack G. Taylor Jr. | Set Decorator: Rick Simpson

Kundun (1997)

Production Designer: Dante Ferretti | Art Director: Alan Tomkins | Set Decorator: Francesca Lo Schiavo

Bringing Out the Dead (1999)

Production Designer: Dante Ferretti | Art Director: Robert Guerra | Set Decorator: William F. Reynolds

Gangs of New York (2002)

Production Designer: Dante Ferretti | Art Director: Stefano Maria Ortolani | Set Decorator: Francesca Lo Schiavo

The Aviator (2004)

Production Designer: Dante Ferretti | Art Director: Robert Guerra & Claude Paré | Set Decorator: Francesca Lo Schiavo

The Departed (2006)

Production Designer: Kristi Zea | Art Director: Teresa Carriker-Thayer | Set Decorator: Leslie E. Rollins

Shutter Island (2010)

Production Designer: Dante Ferretti | Art Director: Robert Guerra | Set Decorator: Francesca Lo Schiavo

Hugo (2011)

Production Designer: Dante Ferretti | Set Decorator: Francesca Lo Schiavo

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What is your favourite Scorsese film? Why does it resonate with you?

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Rose XO.

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NOTE: Our apologies to subscribers who may have received an email of this post last week while it was in progress. We value your time and are working to make sure that never happens again. Thanks for your patience.

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PRODUCTION DESIGN PORN: Christmas Edition!

Merry Christmas, Art DepartMENTAL readers! It’s that time of year again: garland on mantels, tinsel on trees, and of course – Christmas movies on television. There are too many Christmas films to mention but here are a few classics I think have noteworthy production design elements in them.

It’s A Wonderful Life (1946)

Art Director: Jack Okey | Set Decorator: Emile Kuri

Miracle on 34th Street (1947)

Art Directors: Richard Irvine, Richard Day | Set Decorators: Ernest Lansing, Thomas Little

A Christmas Story (1983)

Production Designer: Reuben Freed | Art Director: Gavin Mitchell | Set Decorator: Mark S. Freeborn

Scrooged (1988)

Production Designer: J. Michael Riva | Art Director: Virginia L. Randolph | Set Decorator: Linda DeScenna

Christmas Vacation (1989)

Production Designer: Stephen Marsh | Art Director: Beala Neal | Set Decorator: Lisa Fischer

Home Alone 2: Lost In New York (1992)

Production Designer: Sandy Veneziano | Art Director: Gary A. Lee | Set Decorator: Marvin March

Nightmare Before Christmas (1993)

Art Director: Deane Taylor

How The Grinch Stole Christmas (2000)

Production Designer: Michael Corenblith | Art Directors: Lauren E. Polizzi, Dan Webster | Set Decorator: Merideth Boswell

What’s your favourite Christmas movie and why?

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- Alison

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PRODUCTION DESIGN PORN: Terrence Malick, Jack Fisk and the Art of Minimalism

Filmmaker, Terrence Malick
Production Designer, Jack Fisk

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Definition of Minimalism: A design or style in which the simplest and fewest elements are used to create the maximum effect. A technique that is characterized by extreme spareness and simplicity.

I’ve been a big fan of Terrence Malick and Jack Fisk since I saw The Thin Red Line. Imagine my shock and awe when I saw the rest of their work. I often think of Andrew Wyeth’s Christina’s World when I think of Days of Heaven and that is a tribute to the way they painted their story with simple landscape and light during magic hour. Terrence clearly has a highly attuned eye for painterly composition and Fisk is not only able to realize Terry’s vision but catapult it to new heights in such a way that makes them the power team that they are. The Tree of Life this year has been a testament to the magic they share with their audience. The Tree of Life is a delightfully visual poem which enables the audience to ponder the nature of existence through the use of visual imagery and story minimalism. With this film I do believe Terrence and Jack have reached new heights in the search for beauty in cinema. Through their work I believe we can all learn that less really is more.

Jack Fisk Discusses his Work with Terrence and his Aesthetic:

“Terry and I have developed a relationship where we just go and look at locations together, for weeks, and that way we kind of get in sync on a picture. And then he says, “Whatever you do will be fine.” He’s so trusting, but I’ve worked so hard to fall in line with what he’s after. I think also over the years we’ve kind of developed similar tastes. Some of it came about because we never had any money, so we always had minimal set dressing and props, and we found out that we really like the way that looked. Even today, I spend most of my time taking stuff away rather than putting stuff onto a set. Just try to keep it simple, because if people aren’t confused by the background, they pay attention to what’s happening with the characters, I think. I try to create backgrounds that are easy to understand so they tell you in shorthand what you need to know about the place or the character and don’t distract you by giving you too much to look at. [The balance between simplicity and authenticity] is a hard one.

I’ve developed a real love of Edward Hopper. His paintings have a simplicity and an essence of location, so he’s probably who I reference the most – I think of him almost like an art director. You really feel the humans in those environments because there’s not a lot of distraction; he paints just what you need. The other artist I like is completely different and that’s Francis Bacon. The thing I really like about Francis Bacon is his passion. I look at his paintings and they’re like falling apart. He’ll put water-base paint on oils – whatever he does, he doesn’t worry about preserving it, but he worries about the moment. If he needs a dash of purple up there, he’ll put whatever purple he has. I appreciate that passion.”

~ Jack Fisk, from Filmmaker Magazine | Spring 2010

Terrence Malick and Jack Fisk’s Collaborations

Badlands (1973)

Badlands (1973)

Days of Heaven (1978)

Days of Heaven (1978)

Days of Heaven (1978)

The Thin Red Line (1998)

The New World (2005)

The Tree of Life (2011)

The Tree of Life (2011)

The Tree of Life (2011)

The Tree of Life (2011)

Jack Fisk’s Other Collaborations

Here is more smouldering examples of Jack Fisk’s production designs, this time with other lauded filmmakers. You’ll see below that his love for minimalism follows him on each project but his designs remain classic, beautiful and appropriate to the characters, time period, story and genre. He has a knack for choosing projects that suit his unique visual aesthetic. He also seems to love anything with fire.

Carrie (1976)

Carrie (1976)

Carrie (1976)

Carrie (1976)

Phantom of the Paradise (1974)

The Straight Story (1999)

Mulholland Dr. (2001)

The Invasion (2007)

There Will Be Blood (2007)

There Will Be Blood (2007)

There Will Be Blood (2007)

There Will Be Blood (2007)

There Will Be Blood (2007)

Water For Elephants (2011)

Water For Elephants (2011)

Water For Elephants (2011)

Water For Elephants (2011)

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Are you a fan of Terrence Malick or Jack Fisk? What is your favourite film designed by Jack Fisk and why?

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Rose XO.

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PRODUCTION DESIGN PORN: Bernardo Bertolucci

Italian director and screenwriter Bernardo Bertolucci was born in March 1941. He started writing at the age of 15 and originally wanted to be a poet. However, after assisting Pier Paolo Pasolini  with his film Accattone in 1961, Bertolucci dropped out of his literature studies at the University of Rome and directed his first film, The Grim Reaper, at the tender age of 22. Bertolucci’s films are known for their vibrant visuals as well as controversial political themes. He won two Oscars in 1988 (Best Director and Screenplay) for The Last Emperor.

Once Upon a Time in the West (1968)

Production Designer: Carlo Simi | Set Decorators: Rafael Ferri, Carlo Leva

The Conformist (1970)

Production Designer: Ferdinando Scarfiotti  | Set Decorator: Osvaldo Desideri

Strategia del ragno (1970)

Production Designer: Maria Paola Maino

Last Tango in Paris (1972)

Production Designer & Set Decorator: Philippe Turlure

1900 (1976)

Art Director: Ezio Frigerio | Maria Paola Maino

The Last Emperor (1987)

Production Designer: Ferdinando Scarfiotti | Art Director: Maria-Teresa Barbasso, Gianni Giovagnoni, Gianni Silvestri | Set Decorator: Chunpu Wang

Stealing Beauty (1996)

Production Designer: Gianni Silvestri | Art Director: Domenico Sica | Set Decorator: Cynthia Sleiter

The Dreamers  (2003)

Production Designer: Jean Rabasse | Art Director: Pierre Duboisberranger

What is your favourite Bertolucci set or film?

- Alison

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PRODUCTION DESIGN PORN V

Welcome to our 5th miscellaneous production design porn post. I hope these screencaps will inspire you to watch these films (and in turn be even more inspired)!

Interiors (1978)

Production Designer: Mel Bourne  | Set Decorator: Mario Mazola, Daniel Robert


Marie Antoinette (2006) 

Production Designer: K.K. Barrett | Art Directors: Pierre Duboisberranger, Anne Siebel | Set Decorator: Véronique Melery

Amadeus (1984)

Production Designer: Patrizia von Brandenstein | Art Director: Karel Cerný

Knerten (2009)

Production Designer: Harald Egede-Nissen

Star Trek (2009)

Production Designer: Scott Chambliss | Art Directors: Curt Beech, Dennis Bradford, Keith P. Cunningham, Luke Freeborn, Beat Frutiger, Gary Kosko | Set Decorator: Karen Manthey

Apocalypse Now (1979)

Production Designer: Dean Tavoularis | Art Director: Angelo P. Graham | Set Decoration: George R. Nelson

Almost Famous (2000)

Art Directors: Clay A. Griffith, Clayton Hartley, Virginia L. Randolph | Set Decorator:Robert Greenfield

Synechdoche, New York (2008)

Production Designer: Mark Friedberg | Art Director: Adam Stockhausen | Set Decorator: Lydia Marks

The MachinistThe Machinist (2004)

Production Designer: Alain Bainée | Art Director: Iñigo Navarro | Set Decorator: Héctor Gil

Help! (1965)

Art Director: Ray Simm

Hope you’ve enjoyed this week’s Production Design Porn!

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Alison

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PRODUCTION DESIGN PORN: Terry Gilliam

Actor, writer, director, animator, producer… former Monty Python member Terry Gilliam has done it all, even production design for the Python film Life of Brian! He started out as a cartoonist and animator in the States but soon moved to England where he worked on Do Not Adjust Your Set and the legendary Monty Python’s Flying Circus. After Monty Python dissolved, he focused on writing and directing his own films. Gilliam plays with themes of imagination and rising against the establishment. His films lend themselves to fantastical production design very well – take a look for yourself.

Storytime (1968)

Directed and animated by Terry Gilliam


Monty Python and the Holy Grail (1975)

Production Designer: Roy Forge Smith

Life of Brian

Director: Terry Jones | Production Designer: Terry Gilliam | Art Director: Roger Christian

 

Brazil (1985)

Production Designer: Norman Garwood | Art Directors: John Beard, Keith Pain

The Adventures of Baron Munchausen (1988)

Production Designer: Dante Ferretti | Art Directors: Maria-Teresa Barbasso, Giorgio Giovanni, Nazzareno Piana, Massimo Razzi | Set Decorator: Francesca Lo Shiavo

 

The Fisher King (1991)

Production Designer: Mel Bourne | Art Director: P. Michael Johnston | Set Decorator: Cindy Carr

 

Twelve Monkeys (1995)

Production Designer: Jeffrey Beecroft | Art Director: William Ladd Skinner | Set Decorator: Crispian Sallis

 

Fear and Loathing in las Vegas (1998)

Production Designer: Alex McDowell | Art Director: Chris Gorak | Set Decorator: Nancy Haigh

 

The Brothers Grimm (2005)

Production Designer: Guy Hendrix Dyas | Art Directors: Keith Pain, Jirí Sternwald, Andy Thomson, Frank Walsh | Set Decorator: Judy Farr, Guy Hendrix Dyas

 

Tideland (2005)

Production Designer: Jasna Stefanovic | Art Director: Anastasia Masaro | Set Decorator: Sara McCudden

 

The Imaginarium of Doctor Parnassus (2009)

Production Designer: Anastasia Masaro | Set Decorator: Caroline Smith

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Gilliam’s animations have always been one of my favourite things about Monty Python. I especially love the “Killer Cars” sketch. What’s your favourite Gilliam film or animation?

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Alison.

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TV SETS: Mad Men, Season 4

Taking place from 1964-1965, the most recent season of Mad Men, now on dvd and bluray, was a turning point for the look of the show: new Sterling Cooper Draper Pryce offices and a new downtown apartment for Don. Dan Bishop won the Art Director’s Guild award for Best Single Camera TV Series for the fourth time in a row for the premiere season 4 episode, Public Relations. Let’s take a look at the two largest new sets that were unveiled in season 4.

Sterling Cooper Draper Pryce


The use of primary colours within the new SCDP buildings signals the youthful turn the design in ’64 was taking. Compare these colours to the colour scheme at Sterling Cooper – SCDP is brighter and more vibrant, mirroring the revitalization of lifeblood of the company – they might have more trouble getting the large clients than they used to, but employees like Peggy and Joey are keeping the company more in tune with what’s hip.

In Roger’s office, designed by his younger wife Jane, we see fantastic mod prints in the style of Bridget Riley. You can read more about those as well as the David Weidman prints in Peggy’s office in this LA Times article.

Speaking of Peggy’s office, it’s much pinker than the old office of Freddy Rumsen’s that she was using at Sterling Cooper.

I always love getting a peek at the ads posted on the walls at SCDP – what an art department dream! It’s the details like this that show how fantastic the Mad Men team really is.

Here’s a fan-made floor plan of the new SCDP offices – note the lack of a large “bullpen” full of secretaries like in the old Sterling Cooper offices. The photo below shows the new, downsized secretarial pool.


Don’s Apartment


More neutral colours are used, in contrast with the lighter pastels used in the Draper home, like the blue in their foyer or the yellow in Don and Betty’s bedroom. Dark greens make the apartment feel more masculine.


Even scenes with Don outside of the apartment use the same colour palette, giving Don’s single life an overall feeling of drabness.


Don’s windows looking out onto the city constantly remind the viewer that we aren’t in idyllic suburbia anymore.

One more set from this season that I love: the child psychologist’s office. Get a load of those curtains!


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What do you think of the new Sterling Cooper Draper Pryce offices? Don’s apartment? What other sets from season 4 deserve a shout out?

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Alison.

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PRODUCTION DESIGN PORN: Sir Ken Adam

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BAFTA’s tribute to Ken Adam took place this past Monday night on the occasion of Ken Adam’s 90th birthday. As one of the most creative and imaginative production designers to ever live, not many people are more deserving of a gala celebrating their work than Sir Ken Adam. Born in Germany in 1921, he relocated with his family to England in 1934, where he studied at the Bartlett School of Architecture. He started his prolific film career in 1948 as a draftsman and eventually went on to production design a whopping 44 movies, some of his most memorable being the seven James Bond films he designed. Every film Ken Adam has designed has not only been gorgeous but also incredibly expansive, giving the directors and cinematographers more to play with in terms of shots, light and composition which is no small feat. For his efforts and contributions to the cinematic landscape the Art Director’s Guild awarded him a Lifetime Achievement Award in 2002 and he’s been awarded with 2 BAFTAs (Dr. Strangelove and The Ipcress File) and 2 Academy Awards (Barry Lyndon and The Madness of King George). In 2003, he was knighted by the Queen, the only Production Designer to ever receive this high honour. Take a look at some of Sir Ken Adam’s breathtaking creations.

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Around the World in Eighty Days (1956)

Director: Michael Anderson | Art Director: James W. Sullivan | Set Decorator: Ross Dowd

Dr. No (1962)

Director: Terence Young | Art Director: Syd Cain

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

Director: Stanley Kubrick | Art Director: Peter Murton

Goldfinger (1964)

Director: Guy Hamilton | Art Director: Peter Murton

The Ipcress File (1965)

Director: Sidney J. Furie | Art Director: Peter Murton

Thunderball (1965)

Director: Terence Young | Art Director: Peter Murton | Set Decorator: Peter Lamont

You Only Live Twice (1967)

Director: Lewis Gilbert | Art Director: Harry Pottle

Chitty Chitty Bang Bang (1968)

Director: Ken Hughes | Art Director: Harry Pottle

Diamonds are Forever (1971)

Director: Guy Hamilton | Art Directors: Bill Kenney, Jack Maxsted | Set Decorator: John P. Austin, Peter Lamont

Sleuth (1972)

Director: Joseph L. Mankiewicz | Art Director: Peter Lamont | Set Decorator: John Jarvis

Barry Lyndon (1975)

Director: Stanley Kubrick | Art Director: Roy Walker

The Spy Who Loved Me (1977)

Director: Lewis Gilbert | Art Director: Peter Lamont | Set Decorator: Hugh Scaife

Moonraker (1979)

Director: Lewis Gilbert | Art Directors: Charles Bishop, Max Douy | Set Decorator: Peter Howitt

Addams Family Values (1994)

Director: Barry Sonnenfeld | Art Director: William J.Durrell Jr. | Set Decorator: Marvin March

The Madness of King George (1994)

Director: Nicholas Hytner | Art Directors: Martin Childs, John Fenner | Set Decorator: Carolyn Scott

Taking Sides (2001)

Director: István Szabó | Art Director: Anja Müller | Set Decorator: Bernhard Henrich

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My favourite Ken Adam set is the War Room from Dr. Strangelove. What’s your favourite set Ken Adam has designed?

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Alison.

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