The best production design candidates to analyze the viewer

Indiewire Production designers called from the Academy Award -nominated films to choose and analyze a pivotal scene showing their best. Here are the four who managed to participate: Judy Baker (“Scholars”), Suzy Davis (“Contourf”), Patrice Vermet (“Sand Dunes: Part Two”), and Nathan Kraouli (“Worked”).

Brady Court drama after Holocaust, “The Brutalist”, stimulates Adrian Broody, an Academy Award candidate as an architect of Lisan Laszlo Titz against Jay Peres, an Academy Award candidate in the role of industrial Harrison van Burin. Baker directed Tóth to the creation of furniture, library, and tall building symbolizing its history and living. She was already familiar with the simple architectural style of brutality, which confirmed the function in shape with its large concrete and steel blocks. Her work was the perfect match to coordinate vast and rectangular Vistavision.

For three Edward Berger conspiracy, “Conclave”, which is related to the political fragmented selection of the new Pope, Davis re -created the Vatican’s interiors in the Cinecittà studios, especially the isolated flavor inside the Sistin Church. This is the transmission of an atmosphere of light, dark, traditional, modern, male and female. Then there is a highly sealed prison approach in the fictional Vatican Santa Marta Marta apartments, where the Cardinals reside.

Oscar -winning production designer Patrice Vermet (“sand dunes”) takes a deeper diving in many cultures that were explored in “Dune: Part Two”. This includes the mysterious and hidden world of the Bedouin Fremen, which is slowly buried. The tank of souls is the place where frele water collects from the dead to keep it in preparation for their dream of green oaks. For Giedi Prime, the visual borrowing tanks associated with hardness and their morals in the sewers have become.

“Wicked” by John M. Zhou, who tells the story of the origin of ELPHABA (Cynthia Erivo Oscar candidate) and Galinda (Ariana Grande, an Academy Award candidate), Crowley Production Designer appointed OZ using models, illustrations and visual references to create each environment, eventually reaching an amazing tissue from Americana. This includes Munchkinland in a rainbow color, and the strange sheet University, where ELPHABA and Galinda meets for the first time, and the city of Emerald inspired by Chicago, where they travel to the processor of the processor (Jeff Goldblum).

“Wahsh

“The transformation of the library is some of the most important scenes in“ The Brutalist ”. This is when we realize that László is a truly creative and talented artist, and it is a turning point in this sense. The description of the library was very brief, with one interesting details – during installation, The new shelves, such as the flower, opened.

In November 2022, we went in advance to Hungary and looked at the Hungarian Palace that became Harrison van Burin. It was the only room that seemed appropriate to be the winter winter garden/glass institute. It was a little strange shape – square with a slightly round extension; it was the only wall Which the glass was not open.

“I always imagined it as a traditional men’s library with leather chairs and heavy curtains. But I thought it would be more fun if it was Art Deco. In the model, we created a copy of the old library with a small background of the ART DECO version. Then, we turned it into the new repetition With the opening shelves.

“When it comes to building the library actually, the most difficult part was to find wood that was in a uniform color and it appears that it was exorbitant and that was the right color, because it took a lot of wood to make these tanks, and he had to look excellent and get a modern functional sensitivity. Furniture was affected BAUHAUS (including the Steel Steel) design. I did so deliberately because I thought that at this stage of László’s life, when he was largely exhausted from everything after spent years in a concentration camp, he would have returned to his early training In Bauhaus, that would be all that he really left his creativity at that stage of his life.

“Conclave”: Inside Casa Santa Marta

“The gentle bowl of air conditioning, and small lights from modern lights inside the corridors and wings tightly inhabited by the Cardinals was one of my primary inspiration for the scenes of Casa Santa Marta. The marble beside it.

“The lower roofs free of decoration, only the solid marble panels with details of the shade gap instead of the superior molds around the rooms give an uncomfortable and compressed environment almost increases tension and a feeling of isolation that the Cardinals can feel when they are locked in their rooms. I wanted … though with modern residence. Italian furnishings are always very elegant, and therefore, the chairs, sofas and family raise the rooms slightly compared to the surrounding areas.

“A sharp contradiction between the steeply designed rals with a red arrival designed accurately with their daily routine in making coffee, cleaning their teeth with brush, and elevator riding, also adds an interesting balance. In vision, lighting was also highly important. Work closely with our amazing cinematic photographer , Stéphane Fontaine, who mainly challenged the lighting of this group with practical lighting and support. Through closed shutters on the windows, which creates a gobo that looks like a cage.

In cooperation with other departments, we decided on a restricted plate, allowing the red color to serve as a thread in operation all the time. The wonderful fashion designer (Oscar Candidate) Lese Christle’s red tone with her amazing work, and we have completed this whenever possible through our choices for color and textiles. This allowed the letters to be in the foreground and the center – a red theme, working within environments at all times. “

“Sandy Dunes: Part Two”: Entrance in SIETCH TABR

“With 100 percent original groups, the sand dunes gave us: Part Two” the opportunity to discover the aesthetics of the Empire of Kaitan, the world of Hararkonen in Gidi Prime, and dig into the Freen Culture in Chiches, “said Vermit.

“I think a firm belief that in order for any design that can be believed, it must be installed on the reality in which he sits, and thus tells a story. The design for purely aesthetic reasons should not be present. You must support the narration and be in a conversation with the natural elements and cultures that belong To her.

“A very old Frameen culture. It depends on survival and its color is religious tales for a better world in the future. Over the centuries, they fought to adapt to the harsh natural elements and struggled against the colonial entities coming to their original planet to exploit its natural resources. It was important to create a Frameen culture It can be believed by emphasizing its reality.

It is well hidden outside a series of natural valley clips, we find SIETCH TABR. Traveling through narrow stone carved corridors finally reach a temple like a great hall. We note that this space is partially mired by the huge sand from the outer surface through each small opening, slowly flooding their world. Something difficult to compete with.

Fremen settings are also characterized by hieroglyphic fat. This comes from the need to deliver their stories to future generations, but also to work as evidence of their presence in a state that no longer. “

“Al -Ashrar”: the throne room

“The throne of the throne of the healer was not just a reception hall for the Great Ozo; it was an accurate environment designed to intimidate its subjects and control it. Paul Corold, who was nominated for the Academy Award).

However, this throne room cannot be purely fictional. He needed the opposite of the eccentric reality of the treated world, a strange mixture of the magic of Oz and its modernity. Imagine a high cathedral that reaches a vast mane, but it was re -imagined with layers of architectural rings that gradually ascend, creating an amazing illusion of the huge vertical distance and distorted perspective.

To increase the promotion of complexity, we imagined this fully expressive and functional mechanical head as the axis, which comes out of layers of successive curtains: a living threaded statue that would breathe life and movement in the giant epithelium. The influence of the “man behind the curtain” was very important – the processor, was, After all, just an illusion of a carnival in the heart, unable to use true magic.

“The scene advances where the therapist gets to know Elba and reveals itself as a nice and gentle spirit that you want to help her find a place to really belong. The throne room skillfully hinted to his real motives, but it allows the public to capture the magic of the processor. This is the very intense elaphaba that it is so much that it is so much Initially overlooks the evidence that hints its true normal.