The Art Directors Guild has announced nominations for the 26th Annual Excellence in Production Design Awards in theatrical motion pictures, television, commercials, music videos and animation features, with nominees in the top categories including Licorice Pizza, Cruella, Dune, In The Heights, The White Lotus and Encanto.
Winners will be announced at the Adg Awards ceremony, which returns to a live-in person event at the InterContinental Hotel Los Angeles Downtown Hotel on Saturday, March 5. Today’s announcement was made by Adg President Nelson Coates, Adg, and Awards Producer Michael Allen Glover, Adg.
As previously announced, director Denis Villeneuve (Dune) will receive the William Cameron Menzies Award. Academy Award-winning filmmaker Jane Campion (The Power of the Dog) will receive the Cinematic Imagery Award. The Adg Awards honor excellence in Production Design in theatrical motion pictures, television, commercials, music videos and animated feature films.
The producer of the 2022 Adg Awards is Art Director Michael Allen Glover,...
Winners will be announced at the Adg Awards ceremony, which returns to a live-in person event at the InterContinental Hotel Los Angeles Downtown Hotel on Saturday, March 5. Today’s announcement was made by Adg President Nelson Coates, Adg, and Awards Producer Michael Allen Glover, Adg.
As previously announced, director Denis Villeneuve (Dune) will receive the William Cameron Menzies Award. Academy Award-winning filmmaker Jane Campion (The Power of the Dog) will receive the Cinematic Imagery Award. The Adg Awards honor excellence in Production Design in theatrical motion pictures, television, commercials, music videos and animated feature films.
The producer of the 2022 Adg Awards is Art Director Michael Allen Glover,...
- 1/24/2022
- by Greg Evans
- Deadline Film + TV
“Nightmare Alley,” “Cruella,” “No Time to Die” and “In The Heights” are among the top films recognized for excellence in production design in the 26th annual Art Directors Guild nominations.
On Monday, the Adg announced nominations for this year’s awards show, which will return to a live ceremony on March 5 at the Intercontinental Hotel in Downtown Los Angeles.
“The French Dispatch,” “Licorice Pizza,” “West Side Story” and “The Tragedy of Macbeth” landed nominations in the period feature film category alongside “Nightmare Alley.” “Dune,” “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight” earned recognition in fantasy feature film.
Missing out were Oscar contenders “Spencer,” “The Power of the Dog,” “Belfast” and “Cyrano.”
As previously announced, director Denis Villeneuve (“Dune”) will receive the William Cameron Menzies award. Jane Campion “(The Power of the Dog”) will receive the cinematic imagery award.
The Adg Awards honor...
On Monday, the Adg announced nominations for this year’s awards show, which will return to a live ceremony on March 5 at the Intercontinental Hotel in Downtown Los Angeles.
“The French Dispatch,” “Licorice Pizza,” “West Side Story” and “The Tragedy of Macbeth” landed nominations in the period feature film category alongside “Nightmare Alley.” “Dune,” “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight” earned recognition in fantasy feature film.
Missing out were Oscar contenders “Spencer,” “The Power of the Dog,” “Belfast” and “Cyrano.”
As previously announced, director Denis Villeneuve (“Dune”) will receive the William Cameron Menzies award. Jane Campion “(The Power of the Dog”) will receive the cinematic imagery award.
The Adg Awards honor...
- 1/24/2022
- by Jazz Tangcay
- Variety Film + TV
“The French Dispatch,” “Nightmare Alley,” “West Side Story,” “Dune,” “The Green Knight” and “Don’t Look Up” are among the feature-film nominees for the 26th Annual Excellence in Production Design Awards, which are given out by the Art Directors Guild (IATSE Local 800).
Kicking off a four-day period in which 10 different Hollywood guilds and societies will announce their nominations, the Adg honorees were announced by guild president Nelson Coates and Adg Awards producer Michael Allen Glover.
In the period-film category, the Adg category that most closely matches the Oscar for Best Production Design, the nominees were “The French Dispatch,” “Licorice Pizza,” “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story.”
In the fantasy category, nominations went to “Cruella,” “Dune,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
And in the contemporary category, the nominees were “Candyman,” “Don’t Look Up,” “In the Heights,” “The Lost Daughter” and “No Time to Die.
Kicking off a four-day period in which 10 different Hollywood guilds and societies will announce their nominations, the Adg honorees were announced by guild president Nelson Coates and Adg Awards producer Michael Allen Glover.
In the period-film category, the Adg category that most closely matches the Oscar for Best Production Design, the nominees were “The French Dispatch,” “Licorice Pizza,” “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story.”
In the fantasy category, nominations went to “Cruella,” “Dune,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
And in the contemporary category, the nominees were “Candyman,” “Don’t Look Up,” “In the Heights,” “The Lost Daughter” and “No Time to Die.
- 1/24/2022
- by Steve Pond
- The Wrap
After a 20-month hiatus, Hulu‘s “The Handmaid’s Tale” finally returned for its fourth season, which premiered with three episodes on April 28 and concluded its 10-episode run on June 16. Last year, when the show competed for its third installment at the Emmys, it raked in 10 nominations and one victory, which certainly aren’t shabby but are, in fact, its lowest nomination and win totals to date. Will the TV academy send it better weather this year? Scroll down to watch our 10 exclusive video interviews with top Emmy contenders from the show.
Based on the classic 1985 dystopian novel by Margaret Atwood, “The Handmaid’s Tale” explores a near-future world in which a totalitarian theocracy has overthrown the United States government and created the nation of Gilead, where women are enslaved as ‘handmaids’ due to plummeting birth-rates and forced to bear children for the ruling class. The show premiered on Hulu in the...
Based on the classic 1985 dystopian novel by Margaret Atwood, “The Handmaid’s Tale” explores a near-future world in which a totalitarian theocracy has overthrown the United States government and created the nation of Gilead, where women are enslaved as ‘handmaids’ due to plummeting birth-rates and forced to bear children for the ruling class. The show premiered on Hulu in the...
- 6/29/2021
- by Luca Giliberti
- Gold Derby
“That was a series of challenges,” three-time Emmy Award-winning production designer Elisabeth Williams declares with regard to creating a wartorn Chicago in the fourth season of Hulu‘s “The Handmaid’s Tale,” which kickstarted its 10-episode run with three episodes on April 28. In our exclusive video interview (watch above), Williams talks us through the work that went into creating a ruined version of the aforementioned American metropolis as well as a number of other striking sets in season 4.
On the run after smuggling 86 children and nine Marthas across the Canadian border, June (Elisabeth Moss) and a group of other handmaids betake themselves to a farmhouse for shelter at the outset of the fourth season. On this subject, Williams explains how she and her team wanted to make clear that “we were no longer in the Boston Gilead that we knew,” while also wanting to explore how a Commander who resides in the countryside lives.
On the run after smuggling 86 children and nine Marthas across the Canadian border, June (Elisabeth Moss) and a group of other handmaids betake themselves to a farmhouse for shelter at the outset of the fourth season. On this subject, Williams explains how she and her team wanted to make clear that “we were no longer in the Boston Gilead that we knew,” while also wanting to explore how a Commander who resides in the countryside lives.
- 5/29/2021
- by Luca Giliberti
- Gold Derby
Season 4 of “The Handmaid’s Tale,” streaming on Hulu, finds rebel leader June (Elisabeth Moss) on the run and striking back against tyrannical Gilead. Going northeast with other handmaids in search of the resistance movement, Mayday, she plotted her revenge at a safehouse farm. Then, after being captured and returning to Gilead, June and Janine (Madeline Brewer) escaped to the Chicago war zone to join the resistance in last week’s Episode 5 (“Chicago”).
Thus, the dystopian series opened up its location shoots in Canada for a new kind of world building from Emmy-winning production designer Elisabeth Williams. “We were previously constructed as a studio show,” she said. “Being on location was really tough because we didn’t have as much crew as we should have. But it makes the show more dynamic because being in a studio all the time starts to feel claustrophobic, even if we have all these big,...
Thus, the dystopian series opened up its location shoots in Canada for a new kind of world building from Emmy-winning production designer Elisabeth Williams. “We were previously constructed as a studio show,” she said. “Being on location was really tough because we didn’t have as much crew as we should have. But it makes the show more dynamic because being in a studio all the time starts to feel claustrophobic, even if we have all these big,...
- 5/17/2021
- by Bill Desowitz
- Indiewire
Regina King’s Angela/Sister Night and Baby Yoda were the two pillars of success this Emmy season. So it was no surprise that “Watchmen” and “The Mandalorian” were the biggest craft winners at the Creative Arts Emmys, splitting seven awards apiece — and deservedly so, considering their bold and innovative work, which transcended their superhero and sci-fi trappings.
Damon Lindelof’s zeitgeist-grabbing “Watchmen” was a powerful “remix” of the famed ’80s graphic novel using the Tulsa massacre as a catalyst for excavating the generational sweep of racism and police brutality. HBO’s limited series award winner scored for Gregory Middleton’s cinematography, Sharen Davis and Valerie Zielonka’s fantasy/sci-fi costumes, Henk Van Eeghen’s editing, Trent Reznor and Atticus Ross’ original limited series score, and sound editing, sound mixing, and casting.
“The Mandalorian,” Jon Favreau’s breakout “Star Wars” hit for Disney+, cleverly melded the samurai and western, propelled...
Damon Lindelof’s zeitgeist-grabbing “Watchmen” was a powerful “remix” of the famed ’80s graphic novel using the Tulsa massacre as a catalyst for excavating the generational sweep of racism and police brutality. HBO’s limited series award winner scored for Gregory Middleton’s cinematography, Sharen Davis and Valerie Zielonka’s fantasy/sci-fi costumes, Henk Van Eeghen’s editing, Trent Reznor and Atticus Ross’ original limited series score, and sound editing, sound mixing, and casting.
“The Mandalorian,” Jon Favreau’s breakout “Star Wars” hit for Disney+, cleverly melded the samurai and western, propelled...
- 9/21/2020
- by Bill Desowitz
- Indiewire
The third round of Creative Arts Emmy Awards were handed out on Wednesday, honoring winners in scripted categories including cinematography, hairstyling, costumes and visual effects.
Disney+ was the night’s big winner, picking up five awards for the first season of “The Mandalorian,” for visual effects, cinematography, production design and sound editing and mixing. Other winners included HBO’s “Watchmen,” Hulu’s “The Handmaid’s Tale,” Netflix’s “Stranger Things” and CBS All Access’ “Star Trek: Picard.”
Hosted by “Nailed It’s” Nicole Byer, Wednesday’s ceremony was the third of four online Creative Arts Emmys ceremonies this week, which will be followed by a fifth live broadcast on Fxx on Saturday. The week will culminate in the Primetime Emmy Awards broadcast on ABC this Sunday, hosted by Jimmy Kimmel.
See the list of Wednesday’s winners below and see the reality and nonfiction winners from Monday night here, and the...
Disney+ was the night’s big winner, picking up five awards for the first season of “The Mandalorian,” for visual effects, cinematography, production design and sound editing and mixing. Other winners included HBO’s “Watchmen,” Hulu’s “The Handmaid’s Tale,” Netflix’s “Stranger Things” and CBS All Access’ “Star Trek: Picard.”
Hosted by “Nailed It’s” Nicole Byer, Wednesday’s ceremony was the third of four online Creative Arts Emmys ceremonies this week, which will be followed by a fifth live broadcast on Fxx on Saturday. The week will culminate in the Primetime Emmy Awards broadcast on ABC this Sunday, hosted by Jimmy Kimmel.
See the list of Wednesday’s winners below and see the reality and nonfiction winners from Monday night here, and the...
- 9/17/2020
- by Reid Nakamura
- The Wrap
Writer-producer Bruce Miller is among the millions of readers who have been profoundly affected by Margaret Atwood’s 1985 novel “The Handmaid’s Tale.”
More than 30 years after the book’s publication, Miller adapted it as a series for Hulu and serves as executive producer and showrunner. He knew that the novel’s underlying message — that environmental degradation will fuel unprecedented
political and social conflicts — had only become more urgent in the generation since Atwood introduced the world of Gilead, a breakaway republic in the U.S. that mounts a totalitarian response to a fertility crisis spurred by war and radiation damage.
At work on the fourth season of “Handmaid’s Tale,” which is coming next year, Miller spoke with Variety about the delicate process of ensuring that the climate-change warnings in the Emmy-winning series are not lost.
“Handmaid’s Tale” makes it clear that the fate of humanity and the planet are intertwined.
More than 30 years after the book’s publication, Miller adapted it as a series for Hulu and serves as executive producer and showrunner. He knew that the novel’s underlying message — that environmental degradation will fuel unprecedented
political and social conflicts — had only become more urgent in the generation since Atwood introduced the world of Gilead, a breakaway republic in the U.S. that mounts a totalitarian response to a fertility crisis spurred by war and radiation damage.
At work on the fourth season of “Handmaid’s Tale,” which is coming next year, Miller spoke with Variety about the delicate process of ensuring that the climate-change warnings in the Emmy-winning series are not lost.
“Handmaid’s Tale” makes it clear that the fate of humanity and the planet are intertwined.
- 9/8/2020
- by Cynthia Littleton
- Variety Film + TV
Elisabeth Williams, the two-time Emmy-winning production designer of “The Handmaid’s Tale,” was tasked with extending the dystopian look for Season 3. In fact, the transformation of Washington D.C. for the nominated “Household” episode, in which June (Elisabeth Moss) glimpses a nightmarish future, was known as “Gilead on steroids” by the filmmakers.
“It’s a pure, stark, dictatorship style aesthetic, where nothing frivolous or unnecessary is left, and only propaganda and symbols of the regime are there to be seen by the people to keep them in line,” Williams said.
Thus, her world-building became the most ambitious yet for the acclaimed Hulu series, turning the Lincoln Memorial into a headless shambles and the Washington Monument into a white Gilead cross (courtesy of Mavericks VFX). The National Mall, too, was re-imagined to herd 200 obedient Handmaids for a sea of red assembled on a tiled floor.
“We did a lot of visual research of North Korea,...
“It’s a pure, stark, dictatorship style aesthetic, where nothing frivolous or unnecessary is left, and only propaganda and symbols of the regime are there to be seen by the people to keep them in line,” Williams said.
Thus, her world-building became the most ambitious yet for the acclaimed Hulu series, turning the Lincoln Memorial into a headless shambles and the Washington Monument into a white Gilead cross (courtesy of Mavericks VFX). The National Mall, too, was re-imagined to herd 200 obedient Handmaids for a sea of red assembled on a tiled floor.
“We did a lot of visual research of North Korea,...
- 8/27/2020
- by Bill Desowitz
- Indiewire
“The Handmaid’s Tale” went to Washington, D.C. for its third season, revealing the capital of the fictional Gilead, which looks very, very different from our nation’s seat of government in present day.
That massive on-screen transformation is thanks to the hard work of the costume, VFX, production, casting, makeup and hair departments, who came together during the 2019 government shutdown to build up a dystopian version of America’s capital that might be the most terrifying setting the Elisabeth Moss-led Hulu drama has shown us so far. And they had just three weeks to plan for it all and one day to shoot it.
“The Handmaid’s Tale” team broke down the on-location episode during a “Crafts Masterclass” conversation with TheWrap, which included costume designer Natalie Bronfman, production designer Elisabeth Williams, head makeup artist Burton LeBlanc, head hairstylist Paul Elliot, VFX producer Stephen Lebed and casting director Sharon Bialy,...
That massive on-screen transformation is thanks to the hard work of the costume, VFX, production, casting, makeup and hair departments, who came together during the 2019 government shutdown to build up a dystopian version of America’s capital that might be the most terrifying setting the Elisabeth Moss-led Hulu drama has shown us so far. And they had just three weeks to plan for it all and one day to shoot it.
“The Handmaid’s Tale” team broke down the on-location episode during a “Crafts Masterclass” conversation with TheWrap, which included costume designer Natalie Bronfman, production designer Elisabeth Williams, head makeup artist Burton LeBlanc, head hairstylist Paul Elliot, VFX producer Stephen Lebed and casting director Sharon Bialy,...
- 8/24/2020
- by Jennifer Maas
- The Wrap
In the third season of The Handmaid’s Tale, one of production designer Elisabeth William’s challenges was to craft a dystopian version of Washington, D.C., for a nation overthrown by a totalitarian regime.
Created by Bruce Miller, Hulu’s acclaimed drama centers on June (later known as Offred), a woman who is forced to live as a concubine under a fundamentalist theocratic dictatorship, who sees her family and every vestige of her former life stripped away. By Season 3, June has gotten one of her children safely to Canada, plotting then to topple Gilead, along with an escape with her eldest child to the Great White North.
But in Episode 6, “Household,” which Williams submitted this year for Emmys, June remains far from achieving these goals. In fact, she’s had to travel to Washington, D.C. with her oppressors, to participate in a mass prayer, calling for the return of her baby Nichole.
Created by Bruce Miller, Hulu’s acclaimed drama centers on June (later known as Offred), a woman who is forced to live as a concubine under a fundamentalist theocratic dictatorship, who sees her family and every vestige of her former life stripped away. By Season 3, June has gotten one of her children safely to Canada, plotting then to topple Gilead, along with an escape with her eldest child to the Great White North.
But in Episode 6, “Household,” which Williams submitted this year for Emmys, June remains far from achieving these goals. In fact, she’s had to travel to Washington, D.C. with her oppressors, to participate in a mass prayer, calling for the return of her baby Nichole.
- 8/5/2020
- by Matt Grobar
- Deadline Film + TV
The 24th annual Art Directors Guild Awards, which honors the best production design in film and television, took place Saturday, February 1. All eyes were on the Period Film category, which this year had four nominees match up with the Oscars for Best Production Design: “The Irishman,” “Jojo Rabbit,” “1917” and “Once Upon a Time in Hollywood.” The other two Adg period contenders were “Ford v Ferrari” and “Joker,” while the Oscars’ fifth bid went to “Parasite,” which was up for Contemporary Film at the guild. Scroll down to see the full winners list for the 2020 Adg Awards.
SEE4 reasons why Brad Pitt winning the Oscar for ‘Once Upon a Time in Hollywood’ is as real as a donut
The Art Directors Guild Awards have a great track record predicting the Oscar race for Best Production Design. Throughout the first 23 years of these kudos, the eventual Academy Award winner has always numbered...
SEE4 reasons why Brad Pitt winning the Oscar for ‘Once Upon a Time in Hollywood’ is as real as a donut
The Art Directors Guild Awards have a great track record predicting the Oscar race for Best Production Design. Throughout the first 23 years of these kudos, the eventual Academy Award winner has always numbered...
- 2/2/2020
- by Marcus James Dixon
- Gold Derby
The 71st Emmy Awards kicked off Saturday and Sunday with the Creative Arts Emmy Awards ceremony at the Microsoft Theater in downtown Los Angeles. As a cascade of Emmys were handed out in technical and acting categories, and there were plenty of expected wins and some surprises.
The biggest winner of the two nights combined was HBO’s Game of Thrones, which garnered 10 Emmys on Sunday, while HBO’s Chernobyl earned seven. Amazon’s The Marvelous Mrs. Maisel won six including acting accolades for Jane Lynch and Luke Kirby, while The Handmaid’s Tale surprisingly swooped in and took guest acting trophies for Bradley Whitford and Cherry Jones.
On Saturday, big winners included RuPaul’s Drag Race which won for Outstanding Hairstyling, Outstanding Costumes, and RuPaul Charles for Outstanding Host. It was the fourth win in a row for Charles, tying the Emmys record with Survivor’s Jeff Probst for...
The biggest winner of the two nights combined was HBO’s Game of Thrones, which garnered 10 Emmys on Sunday, while HBO’s Chernobyl earned seven. Amazon’s The Marvelous Mrs. Maisel won six including acting accolades for Jane Lynch and Luke Kirby, while The Handmaid’s Tale surprisingly swooped in and took guest acting trophies for Bradley Whitford and Cherry Jones.
On Saturday, big winners included RuPaul’s Drag Race which won for Outstanding Hairstyling, Outstanding Costumes, and RuPaul Charles for Outstanding Host. It was the fourth win in a row for Charles, tying the Emmys record with Survivor’s Jeff Probst for...
- 9/16/2019
- by Dino-Ray Ramos
- Deadline Film + TV
“Games of Thrones” raked in 10 trophies on Sunday to dominate the second night of the Creative Arts Emmy Awards, held at the Microsoft Theater in downtown Los Angeles.
“Thrones” cleaned up in craft and technical categories, from visual effects to single-camera, non-prosthetic makeup to main title design to drama series casting. The show is the most nominated program in the 2019 Emmy race, with a total of 32 noms and up for 18 kudos on Sunday. As expected, “Thrones” is heading into the Sept. 22 Primetime Emmy Awards with strong momentum to triumph once again at the ceremony, which will be telecast live on Fox.
On Sunday, HBO’s “Chernobyl” grabbed seven wins, followed by Amazon Prime Video’s “The Marvelous Mrs. Maisel” with six. The heft from “Thrones” and “Chernobyl” put HBO over the top in the network race coming out of the two-night Creative Arts ceremony, with HBO collecting 25 statuettes to Netflix...
“Thrones” cleaned up in craft and technical categories, from visual effects to single-camera, non-prosthetic makeup to main title design to drama series casting. The show is the most nominated program in the 2019 Emmy race, with a total of 32 noms and up for 18 kudos on Sunday. As expected, “Thrones” is heading into the Sept. 22 Primetime Emmy Awards with strong momentum to triumph once again at the ceremony, which will be telecast live on Fox.
On Sunday, HBO’s “Chernobyl” grabbed seven wins, followed by Amazon Prime Video’s “The Marvelous Mrs. Maisel” with six. The heft from “Thrones” and “Chernobyl” put HBO over the top in the network race coming out of the two-night Creative Arts ceremony, with HBO collecting 25 statuettes to Netflix...
- 9/15/2019
- by Cynthia Littleton
- Variety Film + TV
With 97 Emmys set to be given out over the two-night Creative Arts ceremony, it can be easy to forget that the silos the Television Academy creates for awards purposes belie the need for crafts departments to collaborate as much as possible to create a successful show.
Ask even casually, and artisans at just about every stage of production will stop to acknowledge their crew, co-workers and the departments whose work intertwines with their own. For double Emmy-nommed sound editor Mandell Winter, the producers, director and film editor are his closest collaborators. He works with them to get a careful understanding of what sounds are needed for a project. He also talks with other sound editors to ensure whatever they need makes it to the mixing stage and is part of the overall editorial process, making adjustments as needed.
“It’s really important to have an understanding of how long it takes to do certain things,...
Ask even casually, and artisans at just about every stage of production will stop to acknowledge their crew, co-workers and the departments whose work intertwines with their own. For double Emmy-nommed sound editor Mandell Winter, the producers, director and film editor are his closest collaborators. He works with them to get a careful understanding of what sounds are needed for a project. He also talks with other sound editors to ensure whatever they need makes it to the mixing stage and is part of the overall editorial process, making adjustments as needed.
“It’s really important to have an understanding of how long it takes to do certain things,...
- 9/12/2019
- by Karen Idelson
- Variety Film + TV
Shooting on location at a national monument may seem glamorous, but it often involves extensive prep to comply with strict regulations, restrictions and crowds — all for a short on-screen moment. For the cast and crew of Hulu’s “The Handmaid’s Tale,” the seven months of planning and negotiations required for a one-day shoot at the Lincoln Memorial in Washington for Episode 6 of the show’s third season was more than worthwhile.
“Nothing beats a real location,” says production designer Elisabeth Williams, who’s earned one Emmy and was just nominated for another for her work on the series. “It’s an odd thing, but I think you can feel the spirit [of it] through the screen.”
The production’s D.C. locations manager, Carol Flaisher, is responsible for smoothing the way for the production. She specializes in the area and knows the ever-changing rules for shooting at locations in and around Washington.
“Nothing beats a real location,” says production designer Elisabeth Williams, who’s earned one Emmy and was just nominated for another for her work on the series. “It’s an odd thing, but I think you can feel the spirit [of it] through the screen.”
The production’s D.C. locations manager, Carol Flaisher, is responsible for smoothing the way for the production. She specializes in the area and knows the ever-changing rules for shooting at locations in and around Washington.
- 8/16/2019
- by Zoe Hewitt
- Variety Film + TV
‘The Favourite’ (Photo credit: 20th Century Fox)
Aussie production designer Fiona Crombie’s chances of winning her first Academy Award have received a boost after her work on Yorgos Lanthimos’ The Favourite was recognised by the Art Directors Guild.
The Favourite won the prize for best period film at the guild’s Excellence in Production Design Awards on Saturday at the InterContinental Los Angeles Downtown.
Black Panther was named best fantasy film while Crazy Rich Asians took the prize for contemporary film and Isle of Dogs best animated film. The key TV awards went to The Marvelous Mrs. Maisel and The Handmaid’s Tale.
In the past five years the winner of the guild’s period film category went on to win the Oscar in production design three times: For The Great Gatsby (2014), The Grand Budapest Hotel (2015) and The Shape of Water (2018), which also won best picture.
The production design...
Aussie production designer Fiona Crombie’s chances of winning her first Academy Award have received a boost after her work on Yorgos Lanthimos’ The Favourite was recognised by the Art Directors Guild.
The Favourite won the prize for best period film at the guild’s Excellence in Production Design Awards on Saturday at the InterContinental Los Angeles Downtown.
Black Panther was named best fantasy film while Crazy Rich Asians took the prize for contemporary film and Isle of Dogs best animated film. The key TV awards went to The Marvelous Mrs. Maisel and The Handmaid’s Tale.
In the past five years the winner of the guild’s period film category went on to win the Oscar in production design three times: For The Great Gatsby (2014), The Grand Budapest Hotel (2015) and The Shape of Water (2018), which also won best picture.
The production design...
- 2/3/2019
- by The IF Team
- IF.com.au
The Art Directors Guild Production Design Awards spread the wealth throughout 11 categories of film, television, commercials, music videos, and animated features. Feature film winners included period “The Favourite” (Fiona Crombie), fantasy “Black Panther” (Hannah Beachler), contemporary “Crazy Rich Asians” (Nelson Coates), and animated “Isle of Dogs”.
Anyone looking for clarity on the upcoming Academy Awards won’t get it here. Beachler, the Oscar favorite, for her brilliant world building of Wakanda, has already become the first African-American to be Oscar-nominated in her craft. A victory, though, would solidify the diversity breakthrough for production design.
Meanwhile, a win for Crombie would signify a stunning creative achievement. She transformed the palace (shot at Hatfield House) into a playground and battlefield with a lot of open spaces. The wood paneling and tapestries helped the pale-skinned actresses stand out more, especially with Sandy Powell’s Oscar-nominated monochrome costumes.
Television winners included “The Marvelous Mrs. Maisel...
Anyone looking for clarity on the upcoming Academy Awards won’t get it here. Beachler, the Oscar favorite, for her brilliant world building of Wakanda, has already become the first African-American to be Oscar-nominated in her craft. A victory, though, would solidify the diversity breakthrough for production design.
Meanwhile, a win for Crombie would signify a stunning creative achievement. She transformed the palace (shot at Hatfield House) into a playground and battlefield with a lot of open spaces. The wood paneling and tapestries helped the pale-skinned actresses stand out more, especially with Sandy Powell’s Oscar-nominated monochrome costumes.
Television winners included “The Marvelous Mrs. Maisel...
- 2/3/2019
- by Anne Thompson
- Indiewire
Warning: This report contains spoilers from the Season 2 finale of “The Handmaid’s Tale.”
Hulu premiered the highly anticipated Season 2 finale of “The Handmaid’s Tale” for select audiences on Monday, July 9, two days before it streamed online. Gold Derby was on-hand at the Wilshire Ebell Theater in Los Angeles, CA for the exclusive sneak peek. A Q&A followed the screening with stars Elisabeth Moss, Yvonne Strahovski, Samira Wiley, Alexis Bledel, Max Minghella, Bradley Whitford, Amanda Brugel and Madeline Brewer, creator Bruce Miller, executive producer Warren Littlefield, director Mike Barker, cinematographer Colin Watkinson, production designer Elisabeth Williams, and casting directors Sharon Bialy and Sherry Thomas, conducted by “Pod Save America” and “Lovett or Leave It” host Jon Lovett.
See ‘The Handmaid’s Tale’ interviews: Yvonne Strahovski, Joseph Fiennes, O-t Fagbenle and more exclusive chats [Watch]
Based on the book by Margaret Atwood, the series imagines a world in which women...
Hulu premiered the highly anticipated Season 2 finale of “The Handmaid’s Tale” for select audiences on Monday, July 9, two days before it streamed online. Gold Derby was on-hand at the Wilshire Ebell Theater in Los Angeles, CA for the exclusive sneak peek. A Q&A followed the screening with stars Elisabeth Moss, Yvonne Strahovski, Samira Wiley, Alexis Bledel, Max Minghella, Bradley Whitford, Amanda Brugel and Madeline Brewer, creator Bruce Miller, executive producer Warren Littlefield, director Mike Barker, cinematographer Colin Watkinson, production designer Elisabeth Williams, and casting directors Sharon Bialy and Sherry Thomas, conducted by “Pod Save America” and “Lovett or Leave It” host Jon Lovett.
See ‘The Handmaid’s Tale’ interviews: Yvonne Strahovski, Joseph Fiennes, O-t Fagbenle and more exclusive chats [Watch]
Based on the book by Margaret Atwood, the series imagines a world in which women...
- 7/11/2018
- by Zach Laws and Marcus James Dixon
- Gold Derby
Following 10 episodes of Noah Hawley’s FX drama Fargo, Emmy-nominated production designer Elisabeth Williams set out to make her mark on the dark, dystopian world of The Handmaid’s Tale—a transition made all the harder, given that Williams came onto the show in Season 2. Working with design templates established in Season 1 by Julie Berghoff, Williams challenged herself to remain as faithful as possible to Season 1’s environments, while embracing the notion of expanding the show’s visual universe. With Season 2, the production designer had the opportunity to set the aesthetic for The Colonies—a nightmarish bucolic space alluded to frequently in Season 1—while building out Little America, and even adding new sets within Gilead itself.
Up front, the task for Williams was getting a clear grasp of the three worlds juxtaposed in The Handmaid’s Tale—those of Little America, Gilead and the world pre-Gilead—and finding a way to move seamlessly between them.
Up front, the task for Williams was getting a clear grasp of the three worlds juxtaposed in The Handmaid’s Tale—those of Little America, Gilead and the world pre-Gilead—and finding a way to move seamlessly between them.
- 6/11/2018
- by Matt Grobar
- Deadline Film + TV
Nancy Steiner, costume designer for Showtime’s “Twin Peaks” reboot, had a serious problem: She wasn’t able to do Naomi Watts’ first fitting until 5 a.m. on her first day of shooting. The original plan had been to put the actress in 1950s-style dresses, but when showrunner David Lynch happened to see Watts in a blouse, jeans and a cardigan, he changed his mind about her whole look.
“You have to go with the flow, because things change on a dime,” says Steiner. “When David figures it out, that’s the right thing.”
Not every workflow process between showrunners and artisans, or between artisans and other artisans, rides on such last-minute changes or tilts on an auteur’s whims. But every production, particularly those in non-contemporary settings or fantastical or alternate worlds, must have below-the-line creatives who can be fluid and meticulous about lining up their visions to create a unified look and feel.
“You have to go with the flow, because things change on a dime,” says Steiner. “When David figures it out, that’s the right thing.”
Not every workflow process between showrunners and artisans, or between artisans and other artisans, rides on such last-minute changes or tilts on an auteur’s whims. But every production, particularly those in non-contemporary settings or fantastical or alternate worlds, must have below-the-line creatives who can be fluid and meticulous about lining up their visions to create a unified look and feel.
- 6/1/2018
- by Randee Dawn
- Variety Film + TV
A sprawling nuclear wasteland covered in dirt that sizzles and smokes as it’s disturbed? Check. Grey-blue-clad women with no protective gear who are finding their body parts falling off and their days numbered? Check. A purgatory so far removed from society that all hope seems to be checked at the door? Check, check, check.
Margaret Atwood didn’t dedicate much ink to the Colonies in “The Handmaid’s Tale,” but the few brief mentions of the place where Gilead sends its worst offenders were enough to inspire the creative team behind the Hulu and MGM re-imagining, and to make it a central part of the storytelling and world-building in the show’s second season. The wasteland was first introduced in this year’s second episode through Emily (Alexis Bledel) and Janine (Madeline Brewer), two handmaids who have been sent there to clean up the land until their inevitable deaths.
Margaret Atwood didn’t dedicate much ink to the Colonies in “The Handmaid’s Tale,” but the few brief mentions of the place where Gilead sends its worst offenders were enough to inspire the creative team behind the Hulu and MGM re-imagining, and to make it a central part of the storytelling and world-building in the show’s second season. The wasteland was first introduced in this year’s second episode through Emily (Alexis Bledel) and Janine (Madeline Brewer), two handmaids who have been sent there to clean up the land until their inevitable deaths.
- 5/9/2018
- by Amber Dowling
- Variety Film + TV
“Blessed be the fruit,” a greeting of the handmaidens in “The Handmaid’s Tale,” might also apply to the abundance of below-the-line contributions to the second season of Hulu’s dystopian story, based on Margaret Atwood’s novel, of a patriarchal society in which women are forced into sexual servitude.
In Season 1, crew members built the world around the characters. Now, they’ve moved on to new locations with new challenges as they craft a sophomore session, debuting April 25, that leans even further on color, texture and depth.
Cinematography
The episode workload was split between DPs Colin Watkinson and Zoe White, the latter of whom infused her own style to complement the visual language established in Season 1, which earned Watkinson an Emmy for the pilot.
This year, the show expands its landscape to the Colonies, a barren, radioactive wasteland that the Gilead — the authoritarian and theocratic regime that has taken over the U.
In Season 1, crew members built the world around the characters. Now, they’ve moved on to new locations with new challenges as they craft a sophomore session, debuting April 25, that leans even further on color, texture and depth.
Cinematography
The episode workload was split between DPs Colin Watkinson and Zoe White, the latter of whom infused her own style to complement the visual language established in Season 1, which earned Watkinson an Emmy for the pilot.
This year, the show expands its landscape to the Colonies, a barren, radioactive wasteland that the Gilead — the authoritarian and theocratic regime that has taken over the U.
- 4/25/2018
- by Daron James
- Variety Film + TV
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