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[Music]

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production designers are very

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interesting people they they have to

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understand

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construction um they're practical people

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they have to be but they also really

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need to be dreamers they're you know a

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little bit more like

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Architects um and uh uh and and they're

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artists you know many of them are

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artists they could you know I mean they

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could they could paint beautifully they

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can draw it's uh very very

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useful to

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not dictate too specifically early on to

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a production designer um unless it's

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just so vivid in your mind or you know

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you know you're recreating something

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that and authenticity is what is going

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to be uh driving every conversation and

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and every defining every

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expectation um very creative people and

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it's important early on to um allow them

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to dream and dream along with them and

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they can be a real secret weapon in

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terms of helping to to elevate the

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visual possibilities of a story and help

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Define the tone uh perhaps in ways that

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might surprise you as the Director and

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Elevate the visual pallet uh and um um

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and and and and um impact of a of a of a

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movie and even if you're talking about

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using all practical locations and not

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investing and building sets I think that

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if if you work with the production

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designer sometimes along with the

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cinematographer that you create a kind

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of a visual understanding uh of uh of of

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what the project can be and a creative

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and emotional investment from that

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production design ER to uh you know to

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help not only get great locations and

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sets not only uh come up with new ideas

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that go even further in terms of details

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and possibilities um but uh but but but

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also just you know be willing to to

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commit themselves uh you know

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wholeheartedly in uh on on the project

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because being a production designer on a

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project is is a huge huge Challenge and

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um and it's there's a tremendous

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responsibility and that person deserves

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to be a part of the the um the most

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Inner

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[Music]

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Circle production designer is um you

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know is the is the the individual who's

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in charge of making sure that that um

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you know that the stage is set for each

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and every scene that if it's a practical

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location that it looks the way it need

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to look that it has the you know it it

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you can tell the story well there um

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that the um um it's the right it's the

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right feel it's interesting it's got the

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right props in it the right the right

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set

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decoration building upon that they're

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the ones who are responsible for not

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only designing sets built on sound

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stages but also making sure that they're

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they're there on time and that they can

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be uh you know efficiently transformed

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from for use in one scene uh into

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another and and that all of that can

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happen uh on budget and on time and so

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their their job is both creative um and

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uh and logistical and they there's a

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tremendous amount of pressure on

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production designers and they're also

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not always in the flow of the

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conversation because they're working out

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ahead

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of the production they're preparing sets

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for a week from now two weeks from now

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uh and um they're not around to ask the

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Casual question and and sometimes you

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know there's a sort of a um you know a

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natural disconnect that happens and um

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but a great production designer working

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in concert with the director and of

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course the

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cinematographer uh can U um you know

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they can literally move mountains

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[Music]

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production designers are very very

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dependent upon their

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reputation because it's kind of

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mysterious what they do and it's also um

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um you know a part of the production

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that can suddenly become very costly and

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no one sees it coming uh it can hold up

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production because um dates weren't made

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or um the expectations were not met

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creatively in terms of what the set was

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supposed to look like so um production

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designers depend a lot on their

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reputation it's a good idea to call and

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talk to people who've really you know

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been through the process with a

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production designer the the other thing

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though is that is that

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creative connection the same kind of

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conversation that you want to have with

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really everybody on the production

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whether they're the you know the the

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costume designers uh the head of the

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makeup Department the cinematographer

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later a composer again it's vitally

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important that the production designer

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reads the script understands the story

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and can come to you with a point of view

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so that you understand on an organic

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level what their instincts are telling

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them if you disagree with

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it I think it's important to state that

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and I think it's fair to give a

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production designer a chance to respond

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to uh a sort of a disconnect in a

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conversation so if if if they're

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presenting one idea and you're saying uh

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I never really thought of it that way

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I'm I see these photographs that you're

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showing me but I was thinking of

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something like

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this I don't think that's a hopeless

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sort of um non-starter I think I think

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at that point if you allow the

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production designer to go back and think

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about it and come back at you with

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more um sort of a tangible evidence of a

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of of a direction that he or she would

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go that perhaps is more consistent with

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what you were talking about I believe

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that you can count on their ability to

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execute that because very often you are

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going to go through a process with the

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production designer unlike what you will

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with a cinematographer where you're

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you're really in the moment as the sun

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is going up or coming down and thee and

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the weather is about to change and

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you're trying to shoot and shoot quickly

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you're going to be involved with a

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production designer in a more methodical

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way there will be blueprints that you

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will look at there will be small models

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perhaps of sets that are going to be

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built and a chance to have a really

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thoughtful

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conversation um and um and and so it's a

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it's a different kind of collaboration

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it often demands

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understands that you as a director have

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begun to formulate your sense of what

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you're going to need in terms of staging

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the

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scenes because that's what the

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production designer cares about you know

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where will the actors be where are we

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going to look where will the camera be

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you don't have to be exact but they need

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to have a sense of whether they're going

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to need to use the entire space if it's

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a practical location or build a set 360

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or

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you know will a couple of walls and a

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staircase in the foreground suffice that

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that's uh very meaningful in terms of

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the way they're going to aot their

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resources and um so that that's where

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it's very helpful for a director to to

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you know have some ideas

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cinematographers can help in this regard

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and production designers can as well

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because they can come to you and say if

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we could shoot this with just two walls

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and a bit of a you know u a railing in

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the foreground or a staircase banister

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and if you could shoot through that

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banister we could give the impression

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they could come walking down those

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stairs and go through and if the scene

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could play that way you know it's much

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more manageable do you think that would

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work and they often can come up with

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ideas that are very

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creative um and don't involve

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overbuilding uh the set which can be so

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costly

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[Music]

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the other thing that I that I would I

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would say um in terms of of working with

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a production designer even more than in

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working with the cinematographer is to

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come up with a lot of tangible examples

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of what it is you're talking about

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whether it's a fantasy or a comedy or

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something very realistic the more you

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can have a shared conversation over an

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image um the the better

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um it's um you know the more clarity

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you're going to have as as a filmmaker

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and uh the clearer line of communication

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you're going to have with a production

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designer whose job it is to make sure

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that on that day um you know those uh

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those sets are there are there to tell

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the story in the way that you want to uh

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express it I wind up spending a great

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deal of time with the production

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designer at the beginning because the

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production designer is always there when

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we go Scout locations and so um you know

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the

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the the

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beginning collaboration usually starts

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with a production designer a line

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producer and perhaps an assistant

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director and so um in in almost every

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instance uh the production designer is

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there you know at the the at the moment

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that you actually open up a a production

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office they're they're like the the

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second higher after the after the uh

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line

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[Music]

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producer sometimes the palette and the

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colors that you're going to use um

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something that you have very little

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control over because if you're using

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practical

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locations um you're not going to be able

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to paint everything you're you you may

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not be able to control it and and um um

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and sometimes it's not a character in a

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in a movie but when it can be then

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there's an important collaboration Not

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Just Between the cinematographer and the

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production designer but also um the the

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costume designer that becomes vitally

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important and and uh and that's an area

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that's subtle but can be so significant

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uh and you can have a

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beautiful gown for you know your Leading

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Lady

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but uh if it bumps with the color of the

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walls on the set it you know it it just

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it undercut undercuts everything the

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cinematographer can try to can try to

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light it but if the color of the

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walls um you know um clashes with uh the

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the the lighting style it's not going to

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be rich and um and cohesive visually so

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in order to get that kind of seamless

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feel there simply has to be an ongoing

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conversation another another really

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great um idea is to is to keep putting

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up images in the common space I I'm um

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um I I I like for the the production

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designer the the the the costume

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designer and um the the property Master

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to take their their best pieces of uh of

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research make color xeroxes of them and

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stick them up on the walls over by

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usually the bathroom of the production

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office uh or the kitchen because I I

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really I I always want people to uh you

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know to be immersed in the aesthetic and

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begin to get a sense of what the the

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color palette wants to be then as you

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get closer to production you can become

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much more specific about it but you know

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um color is another one of those factors

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right along with haircuts and makeup and

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um you know and the kinds of cars that

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they're going to be driving all you know

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all of these things add up they're all

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part of the Mosaic and um the uh the

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more you think about it discuss it know

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to examine it and ask those questions of

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yourself and of your team um the the

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more uh sort of cohesive and um on a and

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and and therefore uh communicative the

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movie will be on a on a on a sort of a

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subliminal level audiences should never

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think about these things you know and

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unless there's some extreme um stylistic

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example but when it's right it means

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they shouldn't have to think about it

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they just feel

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it the relationship between the

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cinematographer and the production

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designer and of course the the director

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um is vital it's it's the ultimately

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it's going to define the look of the

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film The the sense of um of um you know

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immersion that an audience is going to

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feel uh

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sometimes it's a little bit tricky

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sometimes there's a kind of a tension

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between cinematographers and production

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designers very often they work very very

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well together and yet there's this this

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kind of um

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a pressure

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because the

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cinematographer feels sometimes that

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they're expected to make every scene

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look exactly as it ought to look in some

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interesting Artful way and yet if the

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set or the location won't allow the

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lighting it's either going to take you

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know a tremendous amount of time to

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create the look that the director wants

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or that the scene seems to demand or it

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may it may just be impossible and it may

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be a you know a situation where they

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have to compromise sometimes the color

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palette can uh uh clash with what the

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cinematographer is trying to do with the

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lighting so it's so important to to

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create um a running conversation and try

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to keep that communication going very

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often uh assistant directors can be

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invaluable uh uh you know in in in this

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regard um they are um you know the

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absolute workhorses of every project and

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a good assistant director can do a lot

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more than just manage the schedule and

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make sure the actors are there on time

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um and they're telling people what the

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next setup is it can also be uh you know

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a

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tremendous um administrator of

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information thinking ahead and making

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sure that people are going to be

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compatible in their understanding of you

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know what what the needs of a scene uh

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coming up might be from the various

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Department's point of view not just the

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director's point of view so it's a uh

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sometimes managing the the emotions of

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these very talented people uh and and

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their own feeling their own pressure is

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U another part of the director's job it

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doesn't just begin and end with

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cinematographers and production

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designers it can go into every area and

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every key department and um you know

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those collaborations are are are vital

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as well