Maria Djurkovic is one of the most talented Production Designers in the industry today. She has created a multitude of worlds in many critically acclaimed movies and TV shows, including: Sliding Doors (1998), Billy Elliot (2000), The Hours (2002), Mamma Mia! (2008), Tinker Tailor Soldier Spy (2011), and Gold (2017). Matthew Toffolo: Is there a… Continue reading Interview with Production Designer Maria Djurkovic (Oscar Nominated – The Imitation Game)
Category: Production Designer
Interview with Set Decorator Lori Mazuer (The Mindy Project, Popstar)
The Mindy Project has been an incredible experience. We are headed into Season 5 soon which will be my 3rd season with the Mindy team. Our main goal is to make Mindys world come to life, every week with a very ambitious schedule. We shoot our half hour episode every 5 days. This means we are prepping, shooting and wrapping all at once. We often crossboard which means we shoot multiple episodes at once.
Interview with Costume Designer Malgosia Turzanska (Maggie’s Plan)
Malgosia: It starts with the script. I read it once or twice and create a primary, emotional response to the whole piece or to specific characters. That phase tends to be pretty abstract, raw and untethered. I’m often drawn to images that are seemingly not relative to the story, but I later discover that they become the core of the design. So I don’t censor myself at that phase and just go with my gut. Then I do a proper breakdown, which helps me learn the script by heart, and research it properly. I study the specifics of the period and environment where the story takes place, which includes reading books, looking at photos, going to museums, watching movies — whatever is available. That’s one of my favorite stages, because you come across so many unexpected tidbits that gradually shape the design. I then create a moodboard for each character and start sketching. I find that sketches are a crucial part of my process. It’s a moment where I start asking specific questions about the characters, when the initial abstract ideas begin to take a concrete, realistic form. Fabric swatches are very informative and inspiring during that phase too — color and texture are my favorite things to play with, and often I’ll dye or fade swatches to see what happens to the color or pattern and find surprising outcomes that I wouldn’t necessarily think of off the bat. Of course throughout the whole process, I talk to the director, DP and PD and exchange ideas to make sure we’re on the same page.
Interview with Production Designer Beth Mickle (Drive, Whiskey Tango Foxtrot)
I would absolutely recommend this route for aspiring production designers. The lower budget world is where you learn to be resourceful, where you can somewhat safely make mistakes which can be recovered, where you learn the complete fundamentals of how a film is made. I try to approach every production—large or small–with a calm nature, and I think that comes from being in the trenches for so many years and learning how to adapt to in all situations. The biggest con to this route is that formal “union” filmmaking can be a bit jarring when you do finally make the leap to the larger arena—but once you learn those nuances, the process really smooths out. That is definitely one pro if you do start in the larger union world—you learn those protocols right away, so you enter the film world knowing how union positions are categorized and how the different departmental responsibilities are broken down.
Interview with Set Decorator Ute Bergk (The Dark Knight, Enemy at the Gates)
Ute Bergk answered the set of questions I emailed her on the airplane on her way to Budapest, Hungary to complete the television mini-series “Emerald City”. Based on the “Wizard of Oz” universe, Ute promises that the series is “going to be something else” and that director Tarsem Singh is a delight. Two months in… Continue reading Interview with Set Decorator Ute Bergk (The Dark Knight, Enemy at the Gates)
Interview with Costume Designer Janelle Nicole Carothers (The Perfect Match)
No matter the medium it’s all a delicate balance between style and craft. I put 100% into every project so they all require the same amount of blood, sweat and tears.
Interview with Storyboard Artist Cristiano Donzelli (Ben-Hur, The Young Messiah)
A storyboard artist, or story artist, creates storyboards for film productions.
Storyboard Artist Cristiano Donzelli is a wealth of knowledge. You can feel his passion for what he does. No wonder all of the top filmmakers in the world who venture to Italy want to work with him. He simply makes all the films he storyboards better.
Cristiano’s credits include Kingdom of Heaven (2005), Rome (2005). Zoolander 2 (2016), The American (2010). Ben-Hur (2016), The Young Messiah (2016), and Under the Tuscan Sun (2003)
Interview with Production Designer Jane Musky (When Harry Met Sally…, Ghost)
Jane Musky is one of the top Production Designers working in the industry today. She has designed over 40 films in the last 30 years, working with directors Mike Newell, Ivan Reitman, Andy Tennant, Gus Van Sant, Jerry Zucker, James Foley, and The Coen Brothers, to name a few. She also happens to be married to the President of the United States (well on the TV show Scandel) for the last 28 years too!
It was an honor to interview Jane and talk about her amazing career, and it looks like she’s just getting started.
LENSES & FILTERS. How to get the best shots in filmmaking
QUESTIONS TO ASK:
-What is the best viewpoint for filming this position of the event?
-How much area should be included in this shot?
SCENE defines the place or setting where the action is laid
SHOT defines a continuous view filmed by one camera without
SEQUENCE A series of scenes or shots complete in itself.
Interview with Director/Production Designer David Hackl (SAW Franchise)
I’m very proud of the Saw franchise and feel grateful to have had the opportunity to work on it. It a piece of cinema history now. I also have a real fondness for Outlander as it was one of the most epic projects that I’ve done. I had to research it like crazy and learn everything about viking architecture, culture, weaponry etc. We had to build everything, weaponry and huge sets that included a viking village with 22 buildings and an 80 foot Viking ship that was fully practical. The craftsmanship from the whole crew was outstanding in every department. I’ve always loved viking stories and would love to direct a viking feature now.