Standing next to him, John Iacovelli jumps as if stung.
“No,” he says emphatically, “that would be very bad. It’s all about the creak.”
Friday, February 07, 2020
L.A. production designer rolls with challenges on, off stage
Standing next to him, John Iacovelli jumps as if stung.
“No,” he says emphatically, “that would be very bad. It’s all about the creak.”
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3 comments:
I loved reading about how a big-time scenic designer still focused on the small details of the set. Paying attention to the little things, like the creak of a window seat, is what heightens the experience of the entire production. One of my teachers once said that he was watching a play with a realistic interior, and was completely taken out of the moment when the metal door of a fireplace sounded like wood. It frustrated him so much that he had trouble focusing for the rest of the show. I don't think everyone is that meticulous, but I do believe details are important. Iacovelli, the featured scenic designer, acknowledged that much of his job is to solve problems, and celebrated that this is one of his favorite parts. This is vital for the career path because issues are inevitable and having a designer who is excited about finding the solution is probably ideal.
This is such a cool article, and it really speaks to what design is all about. I would have never thought about something like a creek in a hinge, but it is so cool that John Iacovelli took that into consideration. I am curious as to what that conversation was like with the sound department because when designing a set, I’m sure that the sounds that it makes is not at the front of the designer’s mind, or I could just be totally ignorant to the world of scenic design. I mean I guess it is to some extent, such as which floors will echo the sound of high heels, or something to that regard. However, something like a creek is viewed as an imperfection. That is one of the hardest parts of design--aiming for imperfection. Anyway, I think that attention to the small detail of the hinges on a window seat makes Iacovelli an outstanding designer.
It was very interesting reading this article now after my first semester and change of the design and production program here at Carnegie Mellon. This article goes over this scenic artist’s entire process of how he designed the set for Arsenic and Old Lace. His process seemed very familiar – it is the exact same process that we have been learning about in this program. It is refreshing to see an example of this process in practice. Learning about something on paper and actually seeing it implemented are two very different things. In any case, the added detail that over the course of this project, the scenic designer John Iacovelli was diagnosed with leukemia really showed his devotion to his craft. It is really inspiring to know that between meetings and sourcing materials, Iacovelli was taking regular visits to the hospital to receive chemotherapy treatment is incredible. Iacovelli is a man of strength and commitment which I hope to possess myself one day. He is a true inspiration and I believe this article is important and that everyone in the program should read it.
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