Art Directors Guild President Picks Her Favorite Sets of the Year

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As recently as 2020, only 27.5% of production designers in the Art Directors Guild were women.

Five years can bring about significant change, as demonstrated by the observations of Dina Lipton, the guild’s president. She finds it exhilarating to see more women being nominated every year. Moreover, a growing number of young individuals, predominantly female, are graduating from schools with a focus on production design. Additionally, for the first time, the guild’s executive board is entirely composed of women.

This year, it’s Suzie Davies for “Conclave” and Judy Becker for “The Brutalist”, who are both up for the production design award at the Oscars.

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Two women have been nominated in the production design category of this year’s Oscars: Suzie Davies for “Conclave” and Judy Becker for “The Brutalist.”

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In the production design category for this year’s Oscars, there are two nominees – Suzie Davies for “Conclave” and Judy Becker for “The Brutalist.”

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For this year’s Oscars in the production design category, we have Suzie Davies for “Conclave” and Judy Becker for “The Brutalist”, who are both contenders.

On February 15th, the Art Directors Guild will award their top honors. Lipton examines the artistic ingenuity and foresight of the five nominees from the Art Directors Guild, who also received nods for the Oscars.

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As the Art Directors Guild prepares to present their top awards on February 15th, Lipton delves into the artistic creativity and vision of the five nominees from the Art Directors Guild who are also nominated for Oscars.

“The Brutalist” – Judy Becker

Judy faces a challenging task with limited funds for a movie about an architect. What struck me as incredibly clever about this project is her incorporation of a scale model of the real Institute, blending it seamlessly into the film. The way they filmed the miniature to create the illusion of being in a vast space was truly remarkable.

She expertly utilized the settings in Budapest, creating an atmosphere that transported us to 1950s Philadelphia. It’s like watching a classic film trick, pure cinematic charm.

“The library set was the piece de resistance.”

“Conclave” – Suzie Davies

It’s intriguing to find ‘Conclave’ categorized as contemporary, given its atmospheric blend of modernity and historical sanctity. The design and cinematography captivated me, particularly the extended corridors that seemed boundless. The color red, predominantly used in costumes, was omnipresent throughout the film, adding a perfect touch to each frame.

Suzie constructed the Sistine Chapel within just ten weeks, which is amazing! Notably, I managed to finish my own TV show in the same span of time, making it equally astounding.

“Dune: Part Two” – Patrice Vermette

Discuss an impressive undertaking in production design. This project had twice as many sets compared to the initial one.

They were absolutely massive, leaving us astonished. They aimed to create such vast sets, yet each one had to represent distinct worlds and settings.

Among my preferred scenes is the ‘Cave of Birds’, which unfolds as Feyd-Rautha, portrayed by Austin Butler, reaches Arrakis. It’s striking how detailed and symmetrically arranged the imprints left behind seemed.

Upon entering the War Room, it’s as if the burden of all matters is palpable. Moreover, the wind turbines resemble spider webs, adding to the heavy atmosphere.”

“The moment you step into the War Room, the gravity of everything becomes evident. The wind turbines, with their vast expanse, even take on a spider-like appearance in the dim lighting, intensifying the somber mood.

“Nosferatu” – Craig Lathrop

That movie’s design is remarkably lifelike; it seems almost like a reality. The authenticity is so intense it’s spine-tingling. Every aspect of the film, from the smallest detail to the dilapidated structures that seem ready to collapse, is exceptional.

Craig constructed the entire setting on a backlot, making it seem like you’re truly immersed in this historic town. It was quite challenging to discern sounds clearly. (or)

Craig created everything on a backlot so that it feels like you’re really in an authentic old town. Listening clearly was a bit difficult.

The deterioration of the castle and the murals in the monastery were remarkable, showcasing numerous breathtaking scenes. What made it even more captivating was the need to design with limited lighting from candles. The walls’ colors had to be vibrant enough so they didn’t fade into obscurity under such dim conditions. It was an awe-inspiring sight to behold.

“Wicked” – Nathan Crowley

“This is the year of libraries.

I’m quite fond of musicals, yet tackling a movie like this must be quite daunting. After all, we’re all familiar with these classic depictions, and creating a world that feels like Oz is no small task. I adore the vibrant colors, the fanciful elements, and the unique architectural style that Nathan crafted. It seemed effortless, but blending architectural styles from various parts of the globe was truly stunning.

He designed Shiz, and the sequence is astonishingly incredible. Moreover, the filmmakers minimized visual effects and focused more on practical elements, making it an ideal scenario for a production designer. I’m at a loss for words to describe ‘Wicked’, it’s simply breathtaking.

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2025-02-04 23:47