July 7th, 2016
Continuing the ongoing series of interviews with creative artists working on various aspects of movie and TV productions, it is an honor to welcome Patrice Vermette. His portfolio spans hundreds of TV commercials, dozens of music videos and such recent notable films as “Young Victoria”, “Enemy”, “Prisoners” and his latest “Sicario”. In this interview Patrice talks about getting into the field in the early ’90s, building the trust with his main collaborators and working with the same director on multiple productions, the impact of high-definition shooting and viewing equipment on his craft, the evolution of digital tools for set extensions, what happens to the sets when a production is done and what makes him stay in the industry even after all these long years.
The second half of the interview is about his work on “Sicario”, from the opening compound sequence, to building the sets of the Homeland Security office, the gigantic expanse of the border shootout, and the intricate setups of the underground tunnels.
Kirill: Please tell us about yourself and how you got into the industry.
Patrice: My name is Patrice Vermette and I’m a production designer. I got into the industry around early 1991. When I was a kid in 1977, my dad took me to see a movie called Star Wars and it blew me away, and I started recreating those worlds in my parent’s basement. I didn’t know it back then, but it was the seed that was growing inside me – to want to have that in my life.
I grew up in Montreal, Quebec, and it wasn’t necessarily a reality for us. It wasn’t US or France or Germany or England. The local movie industry was looking much more towards documentaries or political comments.
In 1990 I graduated from the communications program at Concordia University in Montreal. My dream was to make soundtracks and produce albums. In late 1990 / early 1991 I was doing PA work on commercials, and in March 1991 I was invited to work on a video on which the art director showed up totally stoned [laughs]. I had a friend who would come to see my band live, and for those performances I used to make a new decor for each show. That friend was working as a grip on that video, and he introduced me to the director, telling him that maybe I could help out, as the next day the shooting was starting, and nothing was being done.
That director offered me the job, as he pretty much had no choice [laughs]. I said that it wasn’t really what I did for a living, or wanted to do, but I promised to give it my best shot. The next day we had a set standing up with some help from my good friends that had never done that in their life either. And from that day on that director offered me all his jobs as a production designer.
Princess Victoria and Duchess of Kent’s Kensinton Palace Bedroom on “Young Victoria” at Shepperton Studios 2007. Courtesy of Patrice Vermette.
I kind of learned it while I was doing it. I learned so much from my mistakes. Then as you keep on doing music videos, you feel strong enough to start doing commercials. In commercials you meet directors who dream of getting financing to get their movies going. So through these commercials I’ve met the wonderful director Jean-Marc Vallée, and in 2004 we made a movie together called “C.R.A.Z.Y.”
That movie had huge success in Canada and a lot of people saw it at festivals throughout the world, and it gave wings to both of us. Those were my early years.
Kirill: How was it seeing the scope of a feature film for the first time?
Patrice: I used to do pretty big commercials, so it wasn’t a very big transition. I saw that I would work for a longer period of time, and work with characters. I think of production design as the back beat, the baseline, the drums that create the visual rhythms for a story, and that’s always been my approach. If it’s a good story, and I always try to choose my movies based on that, it’s always challenging and exciting.
You might have a small budget or a big budget, but it’s always about the story and the script for me. It’s always quite exciting to support the story and to be invisible. That’s always one of my goals – not to show off, just to be invisible and help tell the story.
Duchess of Kent Drawing Room on “Young Victoria” at Shepperton Studios 2007. Courtesy of Patrice Vermette.
Kirill: You’ve started working 25 years ago. Have things changed much for you? We’ve seen the high-def projection equipment and home TV sets taking over, and almost everything is done digitally. Does that require you to be more detailed and precise with your sets?
Patrice: Of course. You have to be so detailed. When I started doing music videos, that was on 16mm. Then we moved up to commercials and 35mm. Now we’re working with 4K cameras. Everything needs to be so precise, and I feel that it’s super-exciting, because no producer will now tell you that nobody would see something. People will see that, and it’s important to be very thorough on the finishes and details. The camera sees everything now. There is nowhere to hide.
It’s also changed a lot for make-up, hair and scenic painters. Everybody needs to be at the top of their game, because a lot of the things that used to work in front of the camera now do not. The technology has put an extra pressure on us to be very detailed in our work.
Kirill: Does it help to have digital monitors on the set so that you can immediately see what the camera sees?
Patrice: The playback system and the monitors really help. When I started, it already existed, but it was black-and-white and all blurry. We used to bet among the people on the set of a commercial how long it would be until someone from the agency would ask “Is it going to be that blurry and bad?”
Now that we’re living in the digital age, the monitors are great. I think that it took away a lot of “secret” powers from the DP [director of photography]. What you see is what you get, and the DP is no longer seen as the magician. It gives the rest of the crew an opportunity to see how it looks. It really helps everybody, and we’re all less annoying to the DP. We used to ask to look at the set through the camera’s view finder. It’s a great tool now.
A quiet and peaceful maze like neighbourhood on “Prisoners”. Courtesy of Patrice Vermette.
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June 27th, 2016
Continuing the ongoing series of interviews with creative artists working on various aspects of movie and TV productions, it is my pleasure to welcome Julie Berghoff. In this interview Julie talks about her ongoing work on commercials, the beginning of her involvement with feature productions as the horror genre starting taking off in early 2000’s, creative collaborations across multiple departments, what makes people stay in the field and what makes people leave, and the evolving landscape of storytelling across various screens around is. The second half of the interview is about her work on “The Last Witch Hunter”, bringing together physical sets and digital extensions, working with live plants, sculpting the impressive sets for the movie, and extending the continuity of sets through post-production via collaboration with the visual effects department.
Kirill: Tell us about yourself and how you started in the field.
Julie: I’m Julie Berghoff and I’m a production designer for film, TV, commercials and music videos. I’m from Chicago IL and I went to the Art Institute of Chicago. I was always really interested in fine art, drawing and building. I completed a sculpting and a fashion degree at the Art Institute of Chicago. From 1994-2000, I worked for a graphics/model shop in Chicago called Kaleidoscope Imaging.
We worked mostly in table top which is directly connected with shooting food products. I specialized in sculpting oversized models. Some of my favorites were the oversized mini-wheats and Snickers bars and things of that nature. We’re talking about a 2-foot Snickers bar that you crack open with the real product inside. Around 1996, I did a stop-motion spot for Coca Cola, and I built all these models that moved and danced, and I fell in love with stop-motion and decided that I wanted to pursue more stop motion. Which brought me out to Portland Oregon, where I worked at Will Vinton Studios for 1.5 years. I did various positions on a Fox show called “The PJs”. It was a hilarious stop motion show about the project, starring Eddie Murphy’s voice.
Around 2002, I moved from Portland to Los Angeles and started working on commercials. The speed and accuracy of working on commercials was nerve racking. They were very demanding and definitely kept you on your toes. You have to work really fast, you have to be on the spot when you go on scouts with the director and they ask you about your vision, and you have sometimes to draw and build things in days.
Commercials really taught me how to be efficient, smart and fast with fabrication and concept ideas, but there was really no narrative aspect to it. You want to be inspired by your work and the film industry as a whole works incredibly hard. A 60-80 hour week is somewhat the norm. When you’re going to dedicate so much of your energy of you life to something. It’s important to be passionate about it and figure out how to keep the passion. I really take my time in choosing my projects, and I need to feel completely energized by it which is the tell-tale sign.
Kirill: How did the field of commercials evolve for you over the last 20 or so years? You’ve seen the advent of high-definition televisions, and explosion of video on web and mobile devices and micro-channels everywhere. Is anything different for you these days?
Julie: I just did a commercial last week, and I have to say that the client is really the king now. It was a mid-range commercial, and maybe on the higher end the directors have more of a voice, but the clients really care so much specifically about their product, and that’s what they want to focus on. And then, time permitting, you can do some fun narrative or something interesting, but it doesn’t mean that it’s going to make the cut.
I still find it to be a great learning platform for people starting off, much better than reality TV shows which I’ve never done. It teaches you discipline of fast film making. Working with a director, scout, producer on all the different platforms of how to make a commercial.
The more you work with people, the more shorthand you have. It’s the same as working with the same director. You know what they like, what they don’t like, how they tell a story, how they move the camera, and sometimes even what furniture style they like. Working continuously with the same people is extremely helpful.
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June 16th, 2016
Continuing the ongoing series of interviews with creative artists working on various aspects of movie and TV productions, it is my pleasure to welcome Amanda McArthur. As a production designer, she splits her time between the worlds of film, theatre and commercials. In this interview Amanda talks about starting out in the industry and how things evolved over the years, differences between doing production design for film and stage, various aspects of working on commercials, what makes people stay in the field and what makes people leave. The second half of the interview is about her work on “Miss You Already”, a touching story about lifelong friendship between two women played by Toni Collette and Drew Barrymore, and how that friendship is put to the test as one falls ill and the other starts a family.
Kirill: Please tell us about yourself and your path so far.
Amanda: I grew up in New Zealand, the daughter of a sculptor and an accountant. And I figure I am something in between. My job involves creating spaces in three dimensions and bringing it in on budget. My mother was a creative force and our home and garden were always full of life, beauty and wonder. Creations would be rising out of lumps of clay, wood or resin on our kitchen bench and finding their way out into the world. My Dad had a workshop under the house. So I guess I have always been surrounded by possibilities.
I grew up partly in the country with three boys having adventures, there was always a mystery to explore, an old abandoned house, a Victorian rubbish dump filled with treasure, a maori burial site, making rafts, eeling and finding the best swimming holes in the river.
I read a lot and this fed into these adventures, we would create our own stories and legends. So I guess it was inevitable I would be attracted to bringing stories to life. Collaborating with a director and finding a visual language for a story is a thrilling thing.
Kirill: What drew you into the industry, and how those expectations compared to the reality of being in the industry?
Amanda: I remember as a child sitting in a cool, dark cinema on a hot day watching a re-run of “Chitty, Chitty, Bang, Bang” and being captivated – the real world on the screen but magical. But my teachers at school were pushing me to be a scientist. I think the movie that changed it all for me was “Blade Runner” – the possibility of another world so beautifully realized blew me away. You always have pictures swirling in your head when you read any story and this made me realize that those pictures can become tangible. I knew what I wanted to do.
There was no training for film design in New Zealand at the time so I trained as an agency art director. A holiday job in a theatre troupe putting on a big summer spectacular was the springboard I had been looking for. And I threw myself into fringe and then mainstream theatre with abandon and did well. Downstage theatre took me on as a trainee and a new post-graduate course at University in theatre design followed. I was the guinea pig, the only student, having my lectures alone.
It was a very exciting time, lots of great new writing. In the theatre you do costume as well. It was a time of experimentation, and learning lots of different skills. I find now that all the best crew I have, have come up through the theatre. It’s incredibly hard work with a few moments of glamour and I find that theatre people have a strong imaginative backbone.
The only difficult thing was being so young and a girl. Sexism in the set building trade at that time was rife and I really had to earn my right of passage with the old construction managers. I won a few awards and then got a grant from the NZ and British arts councils to travel and study in England, at the National theatre and the Royal exchange in Manchester.
I still really wanted to get into TV and film so I knocked on lots of doors and ended up at Granada TV and then the BBC. A student film I designed at the NFTS (set in an imaginary world) got me into commercials because a director wanted that look.
Visual sketch for the apartment in “Piccadilly Jim”, courtesy of Amanda McArthur.
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May 13th, 2016
With its viscerally spellbinding world, immaculate visuals and an exquisite cast, NBC’s “Hannibal” gave us three unforgettable seasons. It gives me immense pleasure to welcome Matthew Davies who was responsible for the production design of this show. In this interview he talks about various aspects of building sets on stage and on location, working with VFX department on augmenting physical sets, the pace of production schedule in episodic television, physical safety of sets and people’s reaction to “Hannibal”. In addition, Matthew dives deeper into the particular set details of the FBI office, the Baltimore state hospital and Cappella Palatina from season 3.
On the set of Hannibal’s Palermo house in season 3. Courtesy of Matthew Davies.
Kirill: Please tell us about yourself and your path so far.
Matthew: My name is Matthew Davies and I’m a production designer. I came into film through architecture. I studied at the Bartlett School of Architecture in London. Towards the end of my degree I recall one of my tutors critiquing my work as being very derivative. He said that if I was going to emulate the work of other architects, I might consider a career in film where everything is copied.
It was like a light bulb going on inside my head. I went to the National Film School for another three years, and graduated again into a very tough industry. I was art-directing medium sized features; then there were the occasional design gigs on low-budget indie films; and in the gaps, I was drafting on big studio movies. Nowhere was I finding anything that combined the satisfaction of having a budget to spend with the creative autonomy that accompanies indie projects. The opportunities were very few and far between in the UK; it is a field oversaturated with talent.
Fortuitously, I ended up by chance doing a film with a Canadian cinematographer, Paul Sarossy, who is probably best known for shooting the movies of Atom Egoyan. He invited me to Canada back in 2002, and I’ve continued working in Toronto ever since. I started with indigenous Canadian directors like Guy Maddin and as the source of the work shifted, I moved on to NBC and cable shows that were being made here in Toronto.
It was this path that brought me into the fold of “Hannibal” and attracted the attention of Patti Podesta who had been hired to design the original pilot. She asked me to share in the design of the standing sets and I subsequently stepped into her shoes on “Hannibal”.
On the set of Hannibal’s Palermo house in season 3. Courtesy of Matthew Davies.
Still of the same set from the final cut.
Kirill: Taking you back to the beginning of your career in movies, was there anything particularly surprising as you got into the industry and saw how things worked on the inside?
Matthew: I was surprised how big it is. I don’t think anyone really appreciates when they watch a film that 95% of what they’re looking at is probably shot in a studio environment, including often street sets and exterior scenes. I didn’t really think about that up until I was in film school.
Once you get into a studio environment like Pinewood Studios in the UK, you appreciate how many crafts go into creating a feature, and all the hundreds of thousands of hours of labor and craftsmanship that go into building sets. The relationship between set design and visual effects has become more paramount, and it extends right from the very early stages of the pre-production up to the last stages of the post-production. I think that design has become a much larger and broader discipline than it used to be.
Kirill: Is it difficult in any way for you to convince the production that what you do is a necessary thing?
Matthew: It depends. Experienced producers generally know the profits of investing more into the infrastructure of the show. On “Hannibal” it cost production an estimated $40,000 premium every day when we were shooting outside of our studio. So, generally speaking, if a set cost less than say $40,000, it was an automatic green light to build. And that doesn’t even take into account whatever had been allocated to the art department. It was an economy for production to be based around the studio rather than on location.
Other shows are location-based, and it’s by necessity. They have a small shooting crew and small lighting packages; they are very footloose and can move quickly. But when you’re working with a large unit, everything is slower. The time it takes to set up and pre-light in a studio is a fraction of the time because it has already been done many times before, and everybody knows the ropes.
Whenever there was a budgetary pressure on “Hannibal”, the producers would generally try to force Bryan Fuller [show creator] and his writers back into a pre-existing set.
On the set of Hannibal’s office. Still from the final cut.
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