“An art director should have a romance with color.”
PRODUCTION DESIGN AND ART DIRECTION
“The domain of the art director – is the visual art and craft of cinematic storytelling; the most important job that no one outside the industry knows about.”
The art director renders the screenplay in visual metaphors, a color palette, architectural and period specifics, location designs and sets. It also coordinates the costumes, makeup and hairstyles. They create a cohesive pictorial scheme that directly informs and supports the story and its point of view
* SETTINGS ARE NOT MERELY BACKDROPS FOR THE ACTION, BUT SYMBOLIC EXTENSIONS OF THE THEME AND CHARACTERIZATIONS
* REAL ISN’T ALWAYS BEST FOR THE FILM; CREATING A WORLD WITH ITS OWN INNER LOGIC AND TRUTH IS.
FINDING THE LOOK OF THE FILM
-The look of a film comes out of the content and the director’s conception of the story.
-A working metaphor, a specific psychological, atmospheric and emotional image of what you want to visually project
-What emotional impact does the story have?
-How does the environment of the narrative reflect the character?
-What is the psychological nature of the story?
-How can the atmosphere of the architecture and physicality of the settings contribute to telling the story visually?
-What is the art director’s attitude toward the story?
-What is the art director’s point of view?
Charlie and the Chocolate Factory, Art Direction by David Allday
THE PRODUCTION DESIGNER’S VISUALIZATION TEAM
-The Art Department staff consists of the art director, set designer, set decorator and property master followed by a support staff.
-Support staff includes the buyer, construction coordinator, construction crew, production illustrator, scenic artist, set dresser, greensman, draftsman, location manager, painters, carpenter and location scout.
Saving Private Ryan, Art Direction by Tom Brown
Art Director
-Runs the show during production
-Responsible for dealing with vendors and the logistics of getting materials to and from the set
Set Designer
-Responsible for designing and supervising the construction of sets
-Drafts blueprints based on concepts, descriptions or drawings and then oversees construction of the set
Set Decoration
-Begins after the set has been built or after a real location has been selected
-The set consists of the walls, floor, ceiling, windows, doorways and doors
-The decoration includes rugs, furniture, wall hangings and window treatments
-Make a list of what decor elements are necessary for each location in the script
-They include paint, wallpaper, floor coverings, furniture, paintings, photographs, books, magazines, newspapers, appliances and audio-visual equipment.
The Shining, Art Direction by Les Tomkins
Props
-Items handled by the Actors are designated as props
-They are gathered, designed or purchased by the PROPERTY MASTER who is responsible for their placement and care during the shooting phase of a film
Hair and Makeup
-The hair crew researches, creates and administers the proper hairstyles for the characters, story, place and time period to serve the director’s point of view
-The on-set hairdresser is invaluable to cut, style, color, set and maintain the hairstyles
-Wigs, hairpieces and hair extensions can transform an actor into a character
-Make sure the actors are willing to change their hair before hiring them
Pleasant Ville, Art Direction by Bill Arnold
-The makeup artist on a movie must understand how the tools of foundation, rouge, lipstick and eyeliner will read on film
-Makeup and hair impact the look and personality of the character and help establish period, mood and atmosphere.-The script will indicate specific props necessary for the story and representation of the characters
-Every visual element should complement, support and develop the cinematic narrative and fit into the overall design plan.
-The Property Master includes items that will give the film distinction
Gummo, Art Direction by Amy Beth Silver
Special Effects
-Digital technology has made a tremendous impact on production designing.
-CGI is employed for budgetary and logistical reasons. To created impossible shots and to augment, change and enhance
Construction Coordinator
-Responsible for the building of sets, follows the working drawings drafting of the art department and supervises the construction crew
-The set is built around the idea that cameras will be shot around it so therefore wild walls can be moved around for a specific shot
Spun, Art Direction by Jason Hamilton
Construction Crew
-The construction crew is made up of many artisans
-Carpenters and painters are the key to a great set
Location Scout/Manager
-Searches for the places indicated in the script
-Takes still photos and shoots video to aid in the search process
-Once location is selected, a deal is struck with the owner or managers of the property
True Grit, Art Direction by Jess Gonchor
Costume Designer
-Creates or selects the clothing to be worn by the actors
-Color and texture concept will be established and agreed with the Production Designer and Director
-Most Art Directors will let the Costume Designers work from their own inspiration based on their interpretation of the story and characters
-Different Actors will look good in certain costumes
Scenic Artist
-Art department specialist who creates all painted backgrounds, prop paintings, signage, any illustrative material, magazine covers, book jackets and murals indicated by the story
Production Illustrators
-Artists who pain or draw a conception of the Production Designers ideas for a set
-A full color description of sets and character’s look can sell a film
Draftsman
-Makes technical drawings that detail a plan to build a set
Set Dresser
-Works under the supervision of the set decorator and is responsible for laying the decor on set
-Have a great sense of style
A Clockwork Orange, Art Direction by John Barry
The Production Designer supervises the entire design team. Art and commerce go hand in hand in movie-making; A Production Designer must carefully plan and budget so the film gets the look it deserves.
-The blueprint for the production process included detailed information concerning use of the camera, the physical action and dialog
-The Production Designer breaks down the script into individual components determining the days in the shooting schedule each scene and each shot is to be photographed
Precious, Art Direction by Matteo De Cosmo
The Psychological Nature of Production Design
-Environments can have a metaphysical impact on how the audience perceives the story and the characters
-How do you want the viewer to feel?
-The atmospheric qualities of the sets, location and environments are essential in establishing a mood and projecting an emotional feeling about the world surrounding the film
-Takes an idea and translates it visually to communicate or comment upon the themes of the story
-A visual metaphor may act on the subconscious level, presenting subtle layers of poetic imagery that can impart ideas, concepts and significance in the narrative.
The Wrestler, Art Direction by Tim Grimes
RESEARCHING
The art director must be specific and precise in a number of areas:
-Authenticity
-Emotional truth of the story and the characters, through the environment
-Interpreting the director’s intent
-Details and details within details
-Ask what is needed for each scene
RESEARCHING IS A TIME FOR DISCOVERY…
