“Saltburn,” “Oppenheimer” and “Poor Things” were among the winners at the 28th Annual Art Director’s Guild Awards which took place in Hollywood on Saturday evening.
Hosted by Max Greenfield, the Adg Awards celebrated outstanding production design in theatrical motion pictures, television, commercials, animated features and music videos.
“Poor Things” production designers Shona Heath and James Price drew visual references ranging from the paintings of French futurist Albert Robida to Francis Ford Coppola’s “Dracula” to build Yorgos Lanthimos’ extraordinary sets.
In “Oppenheimer,” Ruth De Jong built Los Alamos from the ground up. But her most challenging task came when she had to build the Oval Office for the film’s third act. Working with supervising art director, Samantha Englander, the two had floated the idea of finding a pre-existing build of the Oval Office. They looked no further than HBO’s beloved political satire “Veep.” Not only was “Veep...
Hosted by Max Greenfield, the Adg Awards celebrated outstanding production design in theatrical motion pictures, television, commercials, animated features and music videos.
“Poor Things” production designers Shona Heath and James Price drew visual references ranging from the paintings of French futurist Albert Robida to Francis Ford Coppola’s “Dracula” to build Yorgos Lanthimos’ extraordinary sets.
In “Oppenheimer,” Ruth De Jong built Los Alamos from the ground up. But her most challenging task came when she had to build the Oval Office for the film’s third act. Working with supervising art director, Samantha Englander, the two had floated the idea of finding a pre-existing build of the Oval Office. They looked no further than HBO’s beloved political satire “Veep.” Not only was “Veep...
- 2/11/2024
- by Jazz Tangcay and Jaden Thompson
- Variety Film + TV
When director Yorgos Lanthimos approached production designers James Price and Shona Heath with a vision for his latest feature, “Poor Things,” the Venice sensation and Golden Lion winner that’s landed the filmmaker and lead actress Emma Stone at the forefront of this year’s Oscar race, the notoriously meticulous and demanding director had no shortage of notes for the duo. Nor did he have any reservations about the scale of what he wanted to achieve.
“When I first met Yorgos, he was talking about wanting to make a 1930s studio movie, but with today’s techniques,” Price tells Variety. Supplying the duo with visual references ranging from the paintings of French futurist Albert Robida to Francis Ford Coppola’s “Dracula,” the director envisioned lavish, monumental sets built from scratch and glorious backdrops splashed across LED screens. He encouraged them to let their imaginations run wild.
“The brief from Yorgos was wide open,...
“When I first met Yorgos, he was talking about wanting to make a 1930s studio movie, but with today’s techniques,” Price tells Variety. Supplying the duo with visual references ranging from the paintings of French futurist Albert Robida to Francis Ford Coppola’s “Dracula,” the director envisioned lavish, monumental sets built from scratch and glorious backdrops splashed across LED screens. He encouraged them to let their imaginations run wild.
“The brief from Yorgos was wide open,...
- 11/2/2023
- by Christopher Vourlias
- Variety Film + TV
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