Thursday, April 07, 2016
Joe Celli Production Designer For Kocktails With Khloé
Domino: When a celebrity production designer wants to talk shop, we pull up a (beautifully upholstered) chair. Joe Celli, Production Designer, and current creative force behind the Kocktails With Khloé set, was tasked with designing an on-screen home reflective of Khloé’s real life digs—and on a budget at that. We think he pulled it off in fine style, and chatted with him about our new dream job—his.
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3 comments:
I really am about all things Kardashian, so I’m glad they’ve (kind of) found their way to the news blog. It is also very interesting to see set design in a new way. Joe Celli, this set designer, said he was inspired by Khloe’s real house, which is really cool but also very challenging. Khloe can afford to pay a ton more to decorate her house than what the first season of a talk show is allowed to spend. I’d like to hear how he saved all that money. It’s also strange that it appears that in TV a Scenic Designer is called a Production Designer. I wonder what their responsibilities are. It would make sense that they would also have say over the lighting and some other things with a title like that. I also want to know what it’s like to design something that isn’t 20 feet away, and also wants to feel comfortable even real up close. The finish has to be incredible.
I love these articles that are interviews with production designers. As much as I still think I want to do scenic design for live theater rather than film and tv its fascinating to read about how these people create the worlds they do. The amount of attention to detail they have to have is incredible. I would never have thought of something like softening the corners where flats meet, theater audiences would probably never notice something like that, they’re just too far away from the set. I wish the article had gone more in depth about how Mr. Celli recreated Kloé’s house without spending the same amount of money. It would also have been interesting to hear more about how the cameras affected he design of the set. These are both considerations I’ve never had to deal with in live theater and I’m curious about how they get dealt with.
Every week I learn a new opportunity I never thought about for production designers. Even though this article was about essentially the basics of scenic design, I still love seeing these go to the public in popular publications so people get excited about the work, and understand that yes, it's a job. I also like how he said, you need to learn how to draft. Something I think most people have no idea about. Designing a talk show, or whatever this is, is an opportunity I have never thought about, but I'm glad now I know it's there. I know that its not the most creative or interesting job in the world but anything Kardashian related is reeling int he big bucks so kudos to him.
My favorite part of these articles is their come up story. He didn't even go to school for design it looks like, except maybe grad school. He started as an actor, then a prop master then worked his way up. That kind of story is always inspiring to me, knowing that yes, I can hopefully make the transition too. He just went to LA and started working on artistic teams for shows. Which, I'm sure is not as easy as it sounds, but there's still some hope in that statement.
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