The Filmmaker's Guide to Production Design

© 2002 Vincent LoBrutto

All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Allworth Press, 307 West 36th Street, 11th Floor, New York, NY 10018.

Allworth Press books may be purchased in bulk at special discounts for sales promotion, corporate gifts, fund-raising, or educational purposes. Special editions can also be created to specifications. 307 West 36th Street, 11th Floor, New York, NY 10018 or [email protected].

Published by Allworth Press, an imprint of Skyhorse Publishing, Inc. 307 West 36th Street, 11th Floor, New York, NY 10018.

Allworth Press® is a registered trademark of Skyhorse Publishing, Inc.®, a Delaware corporation.

www.allworth.com

12 11 10 09 7 6 5

Cover and interior design by Joan O’Connor, New York, NY

Page composition/typography by Sharp Des!gns, Inc., Lansing, MI

Cover photograph: Photograph of scale model for the production design of the television adaptation Death of a Salesman (1986), directed by Volker Schlöndorff, production designer, Tony Walton. Courtesy Tony Walton, The American Museum of the Moving Image, and the CBS Television Network.

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA

LoBrutto, Vincent.

The ker’s guide to production design / Vincent LoBrutto.

p. cm.

Includes bibliographical references and index.

ISBN-10: 1-58115-224-8

ISBN-13: 978-1-58115-224-1

1. Motion pictures—Art direction. 2. Motion pictures—Setting and scenery. I. Title.

PN1995.9.A74 L63 2002

791.43’025—dc21

2002007998

Printed in the United States of America

For

Reeves Lehmann and

Salvatore Petrosino

CONTENTS

ACKNOWLEDGMENTS

INTRODUCTION

GENERAL NOTES

1 / WHAT IS PRODUCTION DESIGN?

A Brief Historical Perspective on Production Design in Motion Pictures

Production Design Is

2 / VISUALIZATION OF A SCREENPLAY

The Trinity

Writing for the Screen

Writing the Screenplay with Design in Mind

Production Design as a Narrative Tool

The Vision Thing

A Production Designer’s Credo

Communication

Breaking Down the Screenplay

Set Decoration

Props

Special Effects

Finding the Look of a Film

Exercises to Develop Visualization Skills

3 / DESIGN METAPHORS

The Psychological Nature of Production Design

Atmospheric Qualities of Production Design

Translating the Narrative into Visual Ideas

Interpreting the Characters Visually

Establishing an Environment for Cinematic Storytelling

Visualization Exercises

4 / RESEARCH

Design Files

Paintings

Photographs

Magazines

Literature

Video

Oral History

The Internet

Clearance and Permissions

Product Placement

Guidelines for Conducting Research

5 / THE ART DEPARTMENT

The Design Team

Art Director

Set Designer

Set Decorator

Lead Man

Swing Gang

Hair and Makeup

Construction Coordinator

Construction Crew

Property Master

Location Scout

Location Manager

Greensman

Buyer

Scenic Artist

Costume Designer

Production Illustrator

Draftsman

Set Dresser

The Production Designer’s Responsibility to the Art Department

Understanding the Role of the Art Department During the Early Stages of Pre-production

6 / PRE-PRODUCTION

Concept Drawings

Approval

Storyboards

Drafting

Sample Exercises

Drafting Requirements and Standards

Plans

Location Scouting

Organizing the Property Department

Final Steps of Pre-production

Deadlines

Keeping Ahead of the Company

Cover Sets

Pre-production Advice

7 / COLOR

The Color Palette

A Concise Lesson in the Nature of Color

Color Theory

Black-and-White Filmmaking

Color Correction

Developing a Color Sense

Discovering Color

8 / TEXTURE

Aging Wood

Aging Stone

The Role and Purpose of Aging in Production Design

Learning About Texture

9 / ARCHITECTURE

The Development of Shot Design and Sequential Storytelling Through Production Design

The Development of Applying Design Aesthetic to Cinematic Storytelling

The Modernist School of Design Makes an Impact on the Look of Films

The Architect as Production Designer

Construction

Use of Space

Post-modern Film Design

Learning More About Architecture

10 / PERIOD FILMS

Time

Time and Place

11 / GENRES

Research

Genre Is Storytelling

Genre Exercises

12 / BUDGET AND SCHEDULING

Budgeting

Projecting the Production Design Budget

Scheduling

Budgeting Tips

13 / WORKING IN THE STUDIO

Advantages of Shooting in the Studio

Safety Procedures

The Grid

Workshops and Tools of the Art Department

Flats

Materials and Use

Painting

Three-Dimensional Weight-Bearing Construction

Bracing the Set

Methods for Anchoring Objects to Flats

Openings

Cycloramas

Ceilings

Floors and Ground Areas

Procedures for Building and Erecting Sets in a Studio

Camera Blocking in the Studio

Rehearsals

Striking the Set

Storage

Transportation of the Set

Getting Familiar with Working in the Studio

14 / WORKING ON LOCATION

Scouting Locations

Transforming a Location

Shooting at One Location for Another

Matching a Location and Studio Work

Putting It All Together

Tips for Working on Location

15 / LOW-BUDGET PRODUCTIONS

Keeping the Production Design Budget Down

16 / GUERRILLA FILMMAKING

17 / DIGITAL PRODUCTION DESIGN

Pre-CAD Effects

CAD Production Design

Virtual Production Design

CGI in Contemporary Film Production

Successfully Merging CGI Technology with Production Design

Computer Animation

The Future of Digital Moviemaking

18 / HOW TO FIND A PRODUCTION DESIGNER

APPENDIX A / 100 SIGNIFICANT FILMS FOR FURTHER STUDY OF PRODUCTION DESIGN

APPENDIX B / GLOSSARY

APPENDIX C / BIBLIOGRAPHY

APPENDIX D / TOOLS FOR FURTHER RESEARCH

A FINAL WORD

INDEX

ACKNOWLEDGMENTS

I would first like to thank my chairman, Reeves Lehmann, of the Department of Film, Video, and Animation at the School of Visual Arts in New York City, and Salvatore Petrosino, his director of operations, to whom this book is dedicated. Reeves gave me his full support to teach a production design course back in 1994 and Sal has been my consigliere on developing the class over the years. It was Sal’s idea to mount a museum show, The Art of Production Design in Motion Pictures, which we co-curated at the Visual Arts Museum at SVA in Spring 2000. Again Reeves was there with full support and encouragement. My heartfelt thanks to Silas Rhodes, founder and chairman of the board of the School of Visual Arts, for his good graces, for following the path less often taken, and for creating a home for the study of art. SVA President David Rhodes and Vice President Anthony P. Rhodes also provided encouragement and support. I thank Francis Di Tommaso, director of the Visual Arts Museum, Rachel Gugelberger, associate director, and their staff for the meticulous care, good taste, and expertise in mounting such an enterprise.

I learned production design for film at the knee of many great designers and have them to thank for my education in this cinematic art and craft. They include these artists: Ken Adam, Mel Bourne, Patrizia Von Brandenstein, Albert Brenner, Robert Boyle, Norman Garwood, the late Ted Haworth, Andrew Jackness, the late Richard MacDonald, Terence Marsh, Jane Musky, Lawrence G. Paull, Polly Platt, Bruno Rubeo, the late Ferdinando Scarfiotti, Paul Sylbert, the late Richard Sylbert, Wynn Thomas, Tony Walton, Stuart Wurtzel, and Kristi Zea.

I want to thank the late Richard Trupkin who produced productions of Twelve Angry Men and One Flew Over the Cuckoo’s Nest, which I directed as artistic director of the Woodside Kiwanis Players. Production designer Marvin Pastina created environments for our work beyond any expectations of what a little local community theater company could do. I offer respect and remembrance for firefighter Lawrence Virgilio, who performed in both productions and perished on September 11, 2001.

My wife Harriet Morrison is a woman of the theater who over the years inspired me to study the horizons of drama. It was Harriet’s idea for me to do an interview book on production designers, and she envisioned its title. She was the first reader of this book and as always lent her fine Italian hand to the manuscript. My son Alexander Morrison, who recently studied filmmaking, screened film after film with me during my original research into the subject and warmed my heart with the following story. One night while he was attending American University, he walked into a dorm room where a group of students, kicking back, were watching a video of Goldfinger. (I’m sure refreshments were served.) Alex looked at the screen and said, Oh, that’s a Ken Adam film! as a food fight broke out in his direction.

My appreciation to all the students who have attended my production design course at SVA for teaching me about teaching production design and to all the thesis students who have harnessed the power of design for their films. I cherish all of our discussions and marvel at the results.

My thanks to all the heads of education I have worked with at Film/Video Arts for their support of a production design mini-course I teach there. Thanks to all of FVA’s documentarians and guerrilla filmmakers, who at first respectfully listened, then went on blind trust, and then embraced production design as part of their visions.

I want to thank publisher Tad Crawford at Allworth Press for suggesting this project and for his unconditional support. Thanks to my editor Nicole Potter for expertise, patience, and taste, and to Kate Lothman for her understanding and professionalism in coordinating the project. Thanks to copyeditor Diane Moroff for her meticulous attention to detail, and to Joan O’Connor for her elegant book design.

Finally thanks to Andrew Jackness, Wynn Thomas, and Tony Walton for contributing examples of their work that reveal the art behind the art of production design. My respect for and fascination with the work of film production designers is what got me here in the first place.

INTRODUCTION

The purpose of this book is to make filmmakers aware of the art and craft of production design for motion pictures and to provide practical, technical, and aesthetic guidance. This is a how-to book about production design for film and a why-to book as well.

Volumes have been written and said about the look or vision of a film. Many filmmakers rely on the tools of cinematography and videography to achieve this goal. Burgeoning digital tools enhance the visual properties of a movie but do little on their own to create the total visualization and design of a motion picture.

Production design has long been a mystery to many filmmakers. Often, we are not aware of when production designers are doing their job or the nature of their contribution. Production design is usually associated with Hollywood blockbusters and period films. Historically, independent, low-budget filmmakers have felt they did not have access to production design, and besides, contemporary films are shot on real locations, aren’t they?

Although I had made my own independent films, have a B.F.A. in filmmaking from the School of Visual Arts, and worked for the ABC television network in post-production and as a freelance film editor, production design eluded me. As a student of filmmaking for most of my life, I have studied every genre and style of movie from classical Hollywood to the films of international masters, independents, and experimentalists. My understanding of the tasks involved in creating motion pictures embraced directing, screenwriting, acting, cinematography, and post-production, but I remained in the dark as to art direction’s’ role in the visual and narrative processes.

During the 1990s, I produced a series of interview books on the film crafts. The first craft I investigated was close to home—editing. The second book, on production design, was in less familiar territory. Filmographies produced a list of production designers with experience, craft, and the ability to collaborate with directors on a wide range of film styles and storytelling approaches. I quickly came to the realization that the look of a film couldn’t have sprung forth full-blown from the director’s imagination, as the auteurists would have us believe. Nor did the great artistry of the cinematographer accomplish the visualization of a film—someone had to create what was in front of the camera, while the director and director of photography were behind it.

A lot of background research was necessary. For many of the films I had already seen, I had to re-educate my eye to see beyond photography to the purpose and influence of production design in the moviemaking process. When the contribution of production design did appear in front of my eyes, it was an epiphany.

When I was ready, having finished my self-created prerequisite course, I interviewed a number of prominent production designers on the East and West coasts. These in-depth discussions were not only the content of By Design: Interviews With Film Production Designers, they also became a series of one-to-one master classes in feature film production design. My professors were legends in the field: Ken Adam, Goldfinger (1964), Dr. Strangelove (1964), and Barry Lyndon (1975); Mel Bourne, Annie Hall (1977), Fatal Attraction (1987), and The Fisher King 1991); Robert Boyle, Shadow of a Doubt (1943), North by Northwest (1959), and The Thomas Crown Affair (1968); Albert Brenner, Bullitt (1968), The Goodbye Girl (1977), and Pretty Woman 1990); Norman Garwood, Brazil (1985), The Princess Bride (1987), and Glory (1989); Ted Haworth, Strangers on a Train (1951), Some Like it Hot (1959), and Pat Garrett and Billy the Kid (1973); Richard MacDonald, The Servant (1964), The Day of the Locust (1975), and Altered States 1980); Terence Marsh, A Bridge Too Far (1977), Absence of Malice (1981), and Spaceballs (1987); Jane Musky, Blood Simple (1984), Ghost (1990), and Glengarry Glen Ross (1992); Lawrence G. Paull, Blade Runner (1982), Romancing the Stone (1984), and Back to the Future (1985); Polly Platt, The Last Picture Show (1971), The Bad News Bears (1976), and The Witches of Eastwick (1987); Bruno Rubeo, Platoon (1986), Driving Miss Daisy (1989), and Sommersby (1992); Ferdinando Scarfiotti, Death in Venice (1971), Last Tango in Paris (1973), and Scarface (1983); Paul Sylbert, One Flew Over the Cuckoo’s Nest (1975), Heaven Can Wait (1978), and Kramer vs. Kramer (1979); Richard Sylbert, Who’s Afraid of Virginia Woolf? (1966), The Graduate (1967), and Chinatown (1974); Wynn Thomas, Do the Right Thing (1989), A Bronx Tale (1993), and Mars Attacks! (1996); Patrizia Von Brandenstein, Amadeus (1984), The Untouchables (1987), and The People vs. Larry Flint (1996); Tony Walton, A Funny Thing Happened on the Way to the Forum (1966), Murder on the Orient Express (1974), All That Jazz (1979), Stuart Wurtzel, The Purple Rose of Cairo (1985), Brighton Beach Memoirs (1986), and The Mambo Kings (1992); and Kristi Zea, Married to the Mob (1988), GoodFellas (1990), and The Silence of the Lambs (1991).

The concepts and techniques presented in this book have been acquired from the knowledge and experience of these and other production designers. The teaching methods I have developed since 1994 were honed during my course in production design at the School of Visual Arts.

Teaching production design to filmmakers is unlike educating them about cinematography or editing, both absolutely necessary to completing a film. In fact, the early reaction was there was no access, no money, and no way to bring design to their films. This quickly changed; filmmakers learned that production design was a road to achieving their vision of a film and could be accessible to them.

Currently production design is an integral component in independent, student, low-budget as well as mainstream film production. I get many calls and request from filmmakers looking for a production designer. With each passing year the number of film students who have dedicated themselves to becoming production designers increases.

This book has evolved out of this experience and from my work as an advisor to student and independent filmmakers. The results have been affirming and altering. The majority of films now have added a production designer to their creative team; in turn, the work is more visually interpretive and expressive. Filmmakers are visual storytellers, and production design provides possibilities that have been long ignored, misunderstood, and underutilized by moviemakers outside of the old and new studio systems.

Throughout the following eighteen chapters, we will be exploring the answer to one question—What is production design?—with a Zen-like approach. This book is for producers, directors, production designers—in other words, it is for movie makers.

GENERAL NOTES

The word film is used throughout this book along with movie and motion picture. In the twenty-first century, the media and formats utilized to capture images include film, video, and digital technology. Often film is used to indicate a project that in reality may be a video. Eventually the term filmmaker may be replaced with imagemaker, moviemaker, or motion picture creator, but to consider one a filmmaker still has meaning and places that person at the center of the process.

In an Author’s Note for his 1976 novel, Even Cowgirls Get the Blues, Tom Robbins apologizes for use of pronouns and nouns in the masculine gender, while expressing hope that the English language would in the future find a grammatically correct solution other than use of he, she, his, hers, himself, or herself. Mr. Robbins and fellow writers—including myself—are still waiting. I particularly cringe at the written or spoken use of the phrase he or she and generally prefer to use job titles that aren’t gender specific, like cinematographer or director of photography or sound recordist, rather than cameraperson or soundperson. My apologies for the English language’s insistence on being gender specific when, in the practice of filmmaking, it does not apply. In other words, filmmakers are filmmakers, and this is a book for filmmakers.

Words that appear in boldface type indicate their importance in understanding production design for motion pictures and can be found in the appendix B, the glossary, along with other useful terms.

Chapter 1

WHAT IS PRODUCTION DESIGN?

Production design is the visual art and craft of cinematic storytelling. The look and style of a motion picture is created by the imagination, artistry, and collaboration of the director, director of photography, and production designer. A production designer is responsible for interpreting the script and the director’s vision for the film and translating it into physical environments in which the actors can develop their characters and present the story.

In its fullest definition, the process and application of production design renders the screenplay in visual metaphors, a color palette, architectural and period specifics, locations, designs, and sets. It also coordinates the costumes, makeup, and hairstyles. It creates a cohesive pictorial scheme that directly informs and supports the story and its point of view.

The production designer researches the world in which the film takes place to establish a sense of authenticity. The production designer must interpret and transform the story, characters, and narrative themes into images that encompass architecture, décor, physical space, tonality, and texture. Production designers use sketches, illustrations, photographs, models, and detailed production storyboards to plan every shot from microscopic to macroscopic detail. Production designers are the heads of the art department and manage a creative team that includes art directors, set decorators, property masters, painters, carpenters, and specialty crafts people.

A Brief Historical Perspective on Production Design in Motion Pictures

Production design is an art and craft embedded in the core of the filmmaking process. Production designers utilize imagination, technique, illusion, and reality. They apply discipline and financial restraint, to visually enhance the script and the director’s intent, by creating images out of ideas and purpose out of the images.

The earliest films did not employ production design. The Lumière brothers in France recorded the documentary reality in front of their motion picture camera. The first evocation of art direction was fundamental. Filmmakers used painted backdrops and simple props to create a basic setting. Early art direction was not realistic in approach or result but rather a mannered, generic representation that indicated where the story took place. It functioned as an accessory to the screen story, not an interpretive or expressive craft.

The classic Hollywood studio system created and developed massive factory art departments, with hierarchies headed by supervising art directors, who managed the work of art directors and other unit members who designed and executed each and every studio release. Art direction in movies during the 1920s and 1930s became a sophisticated art form supported by a wealth of organized and systematic resources, but it did not yet encompass the shot-by-shot totality of film visualization that interpreted the story and gave the characters a living and breathing environment.

The advent of the production designer occurred in 1939 when producer David O. Selznick gave the title to William Cameron Menzies for his work on Gone with the Wind. Selznick recognized that Menzies did much more than design the sets and décor; he created a blueprint for shooting the picture by storyboarding the entire film. His detailed visualization of Gone with the Wind incorporated color and style, structured each scene, and encompassed the framing, composition, and camera movements for each shot in the epic film. Menzies’ contribution helped expand the function of the art director beyond the creation of sets and scenery, to include the responsibility for visualizing a motion picture. As a result of his extraordinary vision, William Cameron Menzies is recognized as the father of production design.

Over the decades, leading designers have alternated between the art director credit and the production designer title. Now, most films—both big-budget and low-budget independent productions—bear the job title of production designer, followed by art directors, and a team of art department artisans.

Production Design Is …

• A galaxy far, far away, imagined and built on a sound stage

• Scenes that take place in New York or Los Angeles—but are actually shot in Canada

• Gotham City brought to the screen, although the urban environment had previously only existed in the imagination of the comic book creators and was expressed in ink

• An apartment in a Woody Allen film, shot on location in an actual New York City apartment, transformed into the living space of the character through addition, substitution, subtraction, renovation, and alteration

• A visual vehicle that transports the audience back or forward in time

• Visual poetry—a dream, a nightmare, or the mundane reality of the everyday

• The altered psychological state of the audience, created by an emotional mood or atmosphere

• Paint, nails, and tile

• Wood, paper, and stone

• The relationship between the characters, their story, and the environment

Production design functions in the service of the story, in the vision and creation of the illusion of verisimilitude and fantasy.

Chapter 2

VISUALIZATION OF A SCREENPLAY

Making a film is a most complex artistic enterprise. Moviemaking is the only creative endeavor that encompasses all of the arts: writing, photography, painting, acting, music, dance, and architecture. The filmmaker must take on the challenge of telling a story via image and sound each time a movie is made.

Filmmakers have myriad reasons for wanting to make a movie. They come to the task with particular strengths. Some are principally writers; others are actors, or come from the artistic disciplines of music, the theater, cinematography, editing, or design. They make films to entertain, to express emotion, tell a story, deliver a message, to dream, to imagine, and because they have a passion that drives them. Filmmaking takes time, patience, dedication, commitment, and an understanding of the process in its totality.

If filmmakers are oriented toward story and performance, they must learn to visualize the narrative. The story must unfold in the mind’s eye, as it is conceived and created. The filmmaker has to see the movie while the screenplay is being written and during pre-production before the cameras roll. It must be envisioned not as a movie that has been seen before but as a unique story expressed in a unique combination of image and sound. The filmmaker translates the story into the visual language of the cinema.

If filmmakers come from a visual orientation, they must learn to understand how story and character form the foundation of a film. Image and sound without a compelling and engaging story and actors to bring it to life through performance will not produce a successful or satisfying movie.

Good screenplays are rare gems. Writing a great or even a good screenplay is a difficult endeavor. Even if filmmakers are in possession of a good screenplay, they are only halfway toward achieving their goal. The process of imagining the images that become a motion picture is called visualization. Visualization is a total process. To make a cohesive and expressive film, the director must be in control of the way the project is visualized.

Technically, films can be made without a director. Cinematographers, actors, production designers, and editors can follow a screenplay and record the story on film or video, but without the guidance, leadership, and vision of a central figure, it will never be more than just that—a story recorded on film or video. When a filmmaker visualizes a good story, it becomes a motion picture with intention and purpose.

The great visualists span the history of film, all one hundred years plus. A short but representative list would include these masters: Paul Thomas Anderson, Michaelangelo Antonioni, Darren Aronofsky, Luc Besson, Ingmar Bergman, Ber nardo Bertolucci, Luis Buñuel, Tim Burton, Werner Rainer Fassbinder, Federico Fellini, John Ford, Terry Gilliam, Jean Luc Godard, D.W. Griffith, Alfred Hitchcock, Stanley Kubrick, Akira Kurosawa, Spike Lee, David Lynch, F.W. Murnau, Sam Peckinpah, Roman Polanski, Martin Scorsese, Steven Spielberg, Oliver Stone, Andrey Tarkovsky, Francois Truffaut, King Vidor, Wong Kar-Wai, Orson Welles, and Zhang Yimou.

The Trinity

Many filmmakers embrace the camera as the key element in cinematic visualization, but an all-encompassing visual style or look