PROPS Do you always try to stick to historical references or do you prefer using a bit of artistic license? I find the best way to approach period props is to start with a real historical reference and work from there. You have to remember it’s a story you’re creating, not a documentary, so yes, you’ll need to make it cinematic. The most common stretch of truth you see in film graphics is probably 19th century newspapers: large headlines didn’t exist on the covers in ye olden days, it was all small ads. But they’re a strong graphic story-telling device so, hey, we turn a blind eye. Was there a lot of pressure for you to create such a large amount of perfected pieces? My script breakdown was as long as my arm. We started in Berlin and then after a month the entire cast and crew moved to a little town on the Polish border called Gorlitz, where we all lived together and shot the movie. Adam had designed the hotel set to fit into the bones of a beautiful old Art Nouveau department store, with 6 floors and balconies, and we set up our offices on the top floor. We could look down over the balcony every day and watch the set come to life, which was pretty special. I spent my day having back and forths with Wes over details in graphics, talking their production through with the supporting graphic designer Liliana Lambriev, and then liaising with the designer, set decorator, propmaster, and art directors to make sure they had everything they needed from us. There’s probably more to graphics in film than is immediately apparent. If a character has a notice board in his office, for example, then you have to fill that board with relevant material, all in the right style for both the period and the director’s vision. You’re not always designing for the camera: much of this work will never be seen by a cinema audience, but still you have to create an atmosphere and a world for the actors to work their magic in. This interview has been sourced from first hand conversations, Creative Review and Totally Dublin’s March 2014 interviews.
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