How the Confined Spaces in “Greyhound” Added Authentic Intensity
In Greyhound, Tom Hanks is a naval captain of a US destroyer that spends three days in the North Atlantic trying to protect a fleet of merchant vessels from a pack of preying U-boats. The script, written by Hanks, is a fictional account that draws inspiration from C.S. Forester’s book “The Good Sheperd” and unravels like a game of chess with life and death consequences.
Directed by Aaron Schneider and lensed by cinematographer Shelly Johnson,
How Space Force Production Designer Susie Mancini Channeled Stanley Kubrick
Steve Carell is at the center of the new 10-episode Netflix series Space Force, which he co-created with Greg Daniels (The Office) and is streaming now. The inspiration for the show is the real US Space Force that was formed last year to ensure American military supremacy in space and was the brainchild of Donald Trump. The series, which also stars John Malkovich, Lisa Kudrow,
Devs Production Designer Embellishes Big Tech Aesthetic in Alex Garland’s Gorgeous, Beguiling Series
What if a Silicon Valley behemoth ran a top-secret project that threatened the well-being of unwitting civilians? That’s the not entirely outlandish premise underlying Devs, now streaming on FX on Hulu. Created by Ex Machina and Annihilation director Alex Garland, the sci-fi limited series largely takes place at a sleek big tech “campus” surrounded by woods.
The exteriors evoke Google, Apple,
How Production Designer Anne Seibel Built a Jazz Club From Scratch in Damien Chazelle’s The Eddy
Contrasting the difficult lives of professional jazz musicians with their joyous, airy music, Damien Chazelle’s (Whiplash, La La Land) new Netflix series The Eddy turns on the personal and professional drama surrounding a titular jazz club in Paris’s down-to-earth 19th arrondissement (premiering on Friday, May 8). A legendary jazz pianist, it’s Elliot’s (André Holland) job to run the struggling club’s musical program until he unexpectedly inherits a backstage mess from his business partner,
Hollywood Production Designer Matthew Ferguson Helps Build Ryan Murphy’s Gorgeous Alternate History
Ryan Murphy’s Netflix limited series Hollywood has all the glitz and glamor of 1940s Hollywood but with an alternate spin on history. We chat with production designer Matthew Ferguson about the challenge of getting the period details right and finding the balance between fact and fiction. The show debuted this past May 1 on Netflix.
Murphy and his team envision an alternative history of Hollywood in 1947,
Swallow Production Designer Erin Magill Builds a House of Horrors
Handsome husband, rich in-laws, and a stunning house might seem to provide a comfortable perch for the newly pregnant housewife at the center of Swallow. And yet, Hunter (Haley Bennett) suffers privately from a disturbing disorder hinted at in the film’s title. For the psychological thriller (now playing), production designer Erin Magill joined writer-director Carlo Mirabella-Davis in setting up a seemingly perfect milieu riddled with dark secrets.
Magill,
Little America’s Production Designer Amy Williams on Apple TV+’s Beautiful New Series
Apple TV+‘s Little America is the rare show that you could argue really and truly needs to be seen right now. The anthology series from executive producers Alan Yang (Parks and Recreation, Master of None) and Kumail Nanjiani (The Big Sick, Silicon Valley) focuses on the lives of largely working-class immigrants in America. Each episode focuses on the experience of a different character,
Production Designer Arwel Jones on Designing a New Dracula
Consistent with Bram Stoker’s 1897 novel, Netflix’s new three-episode Dracula series begins with a hapless English solicitor, Jonathan Harker (John Heffernan), ignoring the Transylvanian locals’ misgivings to make his way on a snowy evening to Count Dracula’s forbidding castle. In the original novel, Harker is initially impressed with his host’s social graces before realizing he’s a prisoner, but 2020’s Dracula (Claes Bang) is ratty haired and grim, intent on getting the social skills he’ll need for England from his guest.
How The Irishman’s Oscar-Nominated Production Designer Crafted Scorsese’s Mob Epic
Central to Martin Scorsese’s The Irishman is retired hitman Frank Sheeran’s (Robert De Niro) fifty-year oral history of his time with the mob, culminating in his murder of Teamster boss Jimmy Hoffa (Al Pacino). The three-and-a-half-hour epic spans from 1949 to 2000, with most of the 295 different sets and locations made up to look like Philadelphia and environs between the 1950s and the 1970s. Designing the look of the film was a huge undertaking for the art department—“you’re reading the script and you’re thinking,
Hidden Life’s Production Designer on Working in Terrence Malick’s World
Production designer Sebastian T. Krawinkel recalls his first meeting about potentially working on Terrence Malick’s A Hidden Life, which he describes as “almost a conspiracy meeting.” He art directed both V for Vendetta and Speed Racer some years back, and two of Hidden Life’s producers, Henning Molfenter and Charlie Woebcken, had co-produced those.
Krawinkel was handed “a rough outline,
1917′s Production Designer on Building a World at War
How good is director Sam Mendes’ World War I epic 1917? Let’s begin with a brief anecdote about one of his collaborators—the legendary cinematographer Roger Deakins, who originally wasn’t sure it was even possible to pull off what Mendes was after. That was to film 1917 as if it was all a single, continuous shot. But once Deakins read Mendes and screenwriter Krsty Wilson-Cairns script,
Best of 2019: How Ford v Ferrari’s Production Designer Rebuilt the World’s Greatest Race Track Piece-by-Piece
*We’re reposting some of our favorite interviews of 2019. Happy Holidays!
James Mangold‘s Ford v Ferrari revisits one of the greatest car races in history. It began back in 1959 when Carroll Shelby (Matt Damon) wins the most difficult race in the world, the 24 Hours of Le Mans, in France. The problem for Shelby is his crowning achievement is also his last race—doctors tell him a heart condition makes it impossible for him to race again.
Production Designer Hannah Beachler Dives into Dark Waters
There are a number of reasons why Oscar-winning production designer Hannah Beachler wanted to be involved with Dark Waters, the latest film from director Todd Haynes. The first was the subject matter.
Based on a true story, Dark Waters follows lawyer Rob Bilott’s (Mark Ruffalo) 17-year quest for justice after he discovers that DuPont may be poisoning the small West Virginia town of Parkersburg by dumping toxic chemicals into its soil.
How The Dark Crystal: Age of Resistance’s Production Designer Helped Expand Thra
When director and executive producer Louis Leterrier got to work on The Dark Crystal: Age of Resistance, he knew he needed serious artists to help pull off his ambitious vision for this return trip to the mythical Thra. Leterrier’s update builds on the world first created by Jim Henson and Frank Oz’s classic 1982 film The Dark Crystal. Henson, a wizard of the practical effect and the brains behind The Muppets,
Marriage Story’s Production Designer on Creating an Environment of Heartbreak
Production designer Jade Healy doesn’t seem to repeat herself much—particularly with the kinds of films she designs, and even the directors she works with. Though as the work remains eclectic, it grows steadily more renowned, and the latter, at least, is changing.
She’s the designer for Marriage Story, director Noah Baumbach’s story of a marriage’s implosion that is heartbreaking for its specificity and its refusal to take sides.
The Report’s Production Designer On Recreating a World of Conspiracy
Find the mental capacity for another deep dive into the darkest corners of U.S. government and policy, but put away the newspaper. We’re winding back the clock to the beginning of the Aughts, when the CIA first implemented its “enhanced interrogation techniques,” or what most regular folks would call torture, at black sites around the world. The average American citizen didn’t learn about what the CIA was up to until after the program was shut down,
How Ford v Ferrari’s Production Designer Rebuilt the World’s Greatest Race Track Piece-by-Piece
James Mangold‘s Ford v Ferrari revisits one of the greatest car races in history. It began back in 1959 when Carroll Shelby (Matt Damon) wins the most difficult race in the world, the 24 Hours of Le Mans, in France. The problem for Shelby is his crowning achievement is also his last race—doctors tell him a heart condition makes it impossible for him to race again. The ever-resource Shelby decides to become a car designer (he can’t bear to leave the sport he loves) and sets up shop in Venice Beach,
How Last Christmas Production Designer Gary Freeman Got the Rom-Com Look Right
It’s fitting that the season’s first big holiday rom-com, a love letter to a George Michael Christmas song, is as much a testament to London’s enduring charms as it is to holiday-inspired selflessness, love, and cheer. Written by Emma Thompson and directed by Paul Feig, Last Christmas follows shambolic party girl Kate (Emilia Clarke) as she besmirches various charming London corners in permanently smudged eye makeup, dragging around her suitcase (having prevailed too much on exhausted friends,
Motherless Brooklyn Production Designer Beth Mickle on Bringing Back Old New York
Edward Norton’s Motherless Brooklyn is a hugely ambitious adaptation of the seminal 1999 novel by Jonathan Lethem. While it borrows heavily from Lethem’s huge cast of characters—a gumshoe with Tourette’s named Lionel (played by Norton himself) and the folks he calls friends and foes alike—it charts its own path with a more or less completely original story. The era is no longer the late 90s but rather the 1950s New York.
How Joker’s Production Designer Brought New York Back to Its Past
If one thing is certain about Joker, director Todd Phillips’ half-billion-dollars-and-growing grossing dark take on the origin story of Batman’s chief supervillain, it’s that the film means about as many different things to its audience as there are people who’ve seen it. Is the Joker a compelling vigilante or simply a have-not gone mad? Are Arthur Fleck and Batman actually half-brothers? Does Fleck’s never-ending downward spiral speak for incels everywhere? (Absolutely not.) What’s certain is that Arthur is a more than down on his luck middle-aged stand-up comic wannabe working a miserable day job as a clown for hire in a particularly gritty take on Gotham City,
