The Furniture: Terrestrial Fun in "Star Trek Beyond"

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Early in Star Trek Beyond, screenwriters Simon Pegg and Doug Jung wedge a dumb joke into the voice over narration of Captain Kirk (Chris Pine). He has led the Enterprise and its crew across the galaxy to fulfill an endless series of missions, many of them quite similar. His life, he explains, has begun to feel a bit “episodic.” Very funny.

Yet Star Trek Beyond is, in its own way, a self-contained episode of an ongoing series. The bulk of the film takes place on a single planet. No time is spent on earth, nor is the home world at any significant risk. There is no massive cross-galaxy conflict. The story is given a satisfying conclusion, without participating in a grand trilogy or teasing a far-off sequel. This isn’t Star Wars or, for that matter, the Marvel Cinematic Universe.

This means that the production design team, not tasked with a universe of diverse locations, focused on on just a couple of planets...

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The Furniture: Feasts of Flesh in Pan's Labyrinth

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Pan’s Labyrinth, like most of Guillermo del Toro’s films, is busy with visual imagination. There are monsters and fairies, though it’s not always certain which is which. There are dramatic colors and haunted shadows, which push even the more terrestrial sequences toward the fantastical. And there are little flourishes, not all of them thanks to the digital effects team.

In fact, physicality is among the film’s greatest strengths. Sets were built for both Ofelia’s dream world and the all-too-real Spanish Civil War narrative that frames them. Del Toro doesn’t rely on either digital backgrounds or pre-existing locations. Instead, he leans on the uncanny power of tangible design, like these Harryhausen-like models that stand in for an underground kingdom.

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Middleburg Day 3: Presidents, Production Designers, and Girl Power

Photo by Mara RoszakSaturday, my final full day at the fest, was a chilly windy day in Middleburg - horseback ride thwarted again! The unplanned theme of the day was girl power. The day began with a lively keynote conversation with AMPAS President Cheryl Boone-Isaacs. The moderator kept mentioning that she was the perfect person to be leading the Academy in these tough times and after listening to her for an hour, we can't disagree! It's quite obvious why they keep electing her. She's extroverted, quite funny, movie-loving, and knowledgeable about Hollywood with quite an interesting storied career behind her in film publicity. After that rousing breakfast conversation, the day ended with a standing ovation for Emma Stone and the dazzling La La Land (it's even better the second time!).

Inbetween those events a 13 year old Kazakh girl inspires in the documentary The Eagle Huntress, a very crowded panel on Presidents in the movies, and a conversation with four time Oscar nominated Production Designer Jeannine Oppenwall...

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The Furniture: Designing Dignity in "How Green Was My Valley"

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Filmmaking is often an art borne of flexibility. Tim Burton built Sleepy Hollow from scratch when he couldn’t find just the right town in the real world. Vincente Minnelli was forced to make Brigadoon indoors in Hollywood, because the studio wouldn’t pay for an expensive production in Scotland. Both films are likely better for it, too.

The same is perhaps true for How Green Was My Valley, which premiered 75 years ago this week. John Ford wanted to make shoot it on location in Wales, but World War II intervened. Instead, the production team built an entire mining town in the Santa Monica Mountains. This condensed and idealized version of the setting of Richard Llewellyn’s 1939 novel is among the most emotionally resonant sets of its era.

The film won five Academy Awards, including Best Picture and Best Art Direction.

The design team consisted of Richard Day, Nathan H. Juran and Thomas Little, no stranger to Oscar success. They based their village on Gilfach Goch, a quintessential Welsh mining town, but they dramatically reduced the size and jammed the houses much closer to the colliery...

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The Furniture: The Shrieking Color Scheme of Ghostbusters

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber on Ghostbusters, just out on DVD and Blu-Ray

Paul Feig movies tend to be about comic excess. There’s always a nearly too much humor jammed in, not infrequently with the side effect of a bloated running time. To be fair, there would be more time for Melissa McCarthy and Leslie Jones to adlib about dancing if Ghostbusters weren’t also required to have a number of standard narrative beats, but that’s Hollywood.

The point is that Ghostbusters, like Spy, displays a remarkable dedication to extravagant nonsense. Its excessive approach, pushing every joke as far as it can go, is also true of its design. Production designer Jefferson Sage, Oscar-winning set decorator Leslie A. Pope (Seabiscuit) and the rest of the design team provide a a unifying absurdity in both color and texture that keeps Ghostbusters on a collision course with comedy...

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