www.indiewire.com: IndieWire invited the production designers from the Oscar-nominated films to choose and analyze a pivotal scene that best showcases their craft. Here are the four who were able to participate: Judy Becker (“The Brutalist”), Suzie Davies (“Conclave”), Patrice Vermette (“Dune: Part Two”), and Nathan Crowley (“Wicked”).
3 comments:
I really liked how all of these designers speak to how important the tie to the story is while designing their sets. It can't just look cool, a set's job is to subtly hint at the story and really set the tone for the rest of the story. Such as in conclave, I found it really interesting how the designer focuses on creating a lot of juxtapositions to imbue the world with a tension that is rooted in the setting. I also really love that Wicked elected to build a practical automaton for the wizard, because in that story it would have to be a practically built robot otherwise the wizard himself would not have been able to build it. It adds a layer of authenticity to the story that I think is important to establish the structure for a believable story. If the set is unbelievable, it makes it much harder for audiences to suspend their disbelief for the rest of the story.
I really liked how this article gave some insight into the thought process behind production design. I don’t think before taking drafting classes I would have thought about how much work goes into making a set feel real, but this article made me appreciate it even more. I thought it was really awesome how each designer had a different approach depending on the story. Especially in Dune: Part Two, the idea of the sand slowly swallowing Sietch Tabr makes it feel like the Fremen are constantly fighting against something. I also found The Brutalist really interesting. The way the library’s transformation reflects the main character’s journey is something I wouldn’t have noticed originally. The fact that the designer put so much thought into the furniture and materials shows how much the small details matter in storytelling. The sections about The Conclave and Wicked were also really cool, especially how Conclave used lighting and set design to create a sense of isolation!
It was really interesting to hear about how much the characters drove each production designer to make certain decisions. I already wrote about the Brutalist after reading another article. In the section about “Conclave,” I thought it was really interesting how Davies talked about how every aspect of each scene–from the set to the costumes, lighting and sound, made it what it is today to the viewer. “Dune: Part Two,” it’s crazy that 100% of the sets were original and made for this film. I love the part where Vermette talks about how a set should be “anchored in the reality it sits in.” Lastly, “Wicked.” Still have yet to see it, but the Wizard is incredible. It reminds me of a production of “As You Like It” that I researched last semester. This scene is very theatrical, which is good since it’s based on the Broadway musical. Overall, these production designers are very passionate about what they do, but more than that, the storytelling of these stories.
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