Anne Seibel earned an Oscar Nomination for “Midnight in Paris”. Based in Paris, she has worked with some of the top directors in the world today, including Steven Spielberg, David Frankel, M. Night Shyamalan, Sofia Coppola, Clint Eastwood, and 3 Production Designer assignments with Woody Allen.
Go to her website: http://www.anneseibel.com/
Not really. Music is something I’ve always done. I was arranging for bands and choirs from junior high on. I went to NYU film school with the intention of becoming a director or screenwriter, but over time I discovered that my musical abilities were more unique and more marketable.
What an honor it was to talk with the amazing Production Designer Michael Corenblith. His resume is filled with some of the best movies in the last 20 years, including: Saving Mr. Banks, The Campaign, Game Change, Dinner for Schmucks, The Blind Side, Frost/Nixon, Apollo 13.
There really is no normal to my job anymore. Every project seems to be different and now and asks for different. A film project could call on a storyboard artist at any stage from pre-pre production, ( when the film is trying to get funding) right the way through to post production for VFX, (after principal photography has been completed). The bulk of my work tends to be early in the pre-production taking the first pass at sequences to get the ball rolling on them. Usually I’d start with a chat with a Director, though it could be VFX supervisor, production designer and then work on from there. I use to expect to finish when filming starts but now i might stay almost to the end of shooting then be called back for reshoots and post production.
It really does depend. On the whole, a large studio film in the UK could be 9/10 months work. The prep time is longer as is the shooting schedule. I have worked both in the UK, where I started and the US, where I now live. In the UK the Graphic Designer is really responsible for a large amount more work than the US. That may sound bizarre in terms of the work load varying but in the US there are a lot more print houses and production places that can facilitate some of the graphic design parts where as in the UK, the Graphic Designer creates all the Art department, set dec & prop pieces – no matter how big or small.
You need to be a good listener. We work for editors. Editors have different criterion for each show we work on. Some like it big and over the top. some like it subtle and more realistic. Each time a different foley editor would come into the room to supervise the recording, I would walk away with a better understanding about how things should sound. It’s important to gain the trust of your editors and listen to what they have to say. When they want something heavier you need to understand what they mean. Does heavier mean louder? Bigger? It’s a subjective art with lots of possible variations. It’s important to do things the way the client intends for it to be heard.
You’ve worked in the Art Department in over 40 productions in the last 10 years. Is there one or two films that you’re most proud of?
I am proud to be a part of the runaway hit
“Pitch Perfect” .. That film has touched a great deal of people. And I think our work on “Million Dollar Arm” was rewarding.
During filming, we hoped it would be nominated for an Emmy, especially when one reviewer said he couldn’t catch any of us acting. Highest praise. As for the “stevedores”, we had no doubt since we all hung out together just like a brotherhood on the docks. But David Simon, the show’s creator, felt its ratings were not high enough to even be considered. Of course, he was right.
Not until later, when the show was called out as being one of the ten best written TV shows of all time, did we came to realize that we might have been a part of a show that would not only be watched, over and over, but studied.
In 2014, I received an invitation from my alma mater, St. Joseph’s University, to speak to members of the Richard Johnson Center for Anti-Violence about my experiences on the series. I was gob-smacked to learn they were studying “The Wire” for its sociological implications!
HIRING A CREW FILMMAKING NOTES Job Hiring Your Production Crew – When hiring your CREW, first and foremost what you’re looking for is other leaders. People who will take their position and own it – make themselves the LEADER of that job. This is a collaborative medium. Everyone can pour themselves into the film, no… Continue reading Tips to hiring the best crew members for your film
MAKING A DOCUMENTARY FILMMAKING NOTES DOCUMENTARY FILM – TIPS for Documentary Film Production THE FOUR BASIC DIVISIONS OF STYLE 1) EXPOSITORY DOC’S Commenting on the Acting of the scene rather than being a part of it -A lot of times Propaganda films (TV NEWS) -Express point of view clearly and leave little room for misinterpretation… Continue reading How to make a Documentary Film