Networking and Self-Promotion
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to get the information I need. Now more than ever, I need someone who is multi-talented and can jump on the computer and do great stuff. Also, I always consider someone who’s creative and provides good ideas and contributes to the process. You know, I just want the best person on the planet—someone that blows me away.
Describe your designing process. How do you previsualize? Different projects require different processes. Some projects are historical and require research. What does Iraq look like now? On Three Kings (1999) that was all just research for me at first, and then I started getting excited about it through the process. We called the Kuwaiti Embassy, found lots more research, and investigated newspaper footage. And then sometimes it’s more imagination where you do just, “Ahhhh—I’m going to design the coolest set.” And, I then just start sketching out something crazy. So, it really depends on the project.
Have new technologies made your relationships with the director easier or more challenging? Easier. It helps you to see how things might look a lot faster. It’s a plus.
Generally, how do you create a healthy relationship with your visual effects coordinator? The projects I’ve done have not been as visual effects intensive as Alex McDowell’s have. On my former projects somehow, instantly, because visual effects people are all great artists, we just end up sharing fun ideas and inspiring one another. It’s more inclusive and about being a fun, creative process. I’ve really just had super-positive experiences. In my post-work for Dogtown, I’m having a great relationship with Gray Marshall, of Gray Matter, who is doing our visual effects. I stop at his office on the way to do post at Sony to work out ideas and do sketches. It’s fun, and I love it. I worked at a visual effects company when I first got here while at UCLA so I have some understanding of what’s currently being done.
How can the art department operate more smoothly? Every member of the staff is vital. From the art coordinator to the PA, everyone can potentially make a vital contribution. On Tombstone (1993), a non-union film, my art department PA became an art director by the end of the movie. Chris Gorak is now a big production designer. On the same movie, there were seven people with master’s degrees in architecture on my staff, so everybody was brilliant. Everybody was able to leap to the challenge with more or less experience in film. It made the project a success.
So, do you think the visual effects and art departments are beginning to merge with all the sharing and overlapping that’s going on at this time? Yes and no. Finishing my current movie, the art department production people are going to be gone when a lot of the heavy visual effects start. That’s an interesting question that needs to get figured out over time. How much does a production designer stay actively involved in post? When do the overlaps occur and how can they be positive, especially with new advancements coming into play? On past movies when I was off payroll,