93rd Academy Awards: Best Production Design

by Daniel Walber

Is it a good year for the Best Production Design category at the Oscars? Is it a bad year? What does the word “good” even mean? Or, for that matter, the word “year”? Certainly not the same thing as “eligibility period,” given the way things have shaken out with the 93rd Academy Awards. Pour one out for First Cow.

But I digress. We have five films nominated for Best Production Design, and they’re a relatively modest batch. There’s the eternal joke about the Oscars nominating movies for “most” rather than “best” design, but by some miracle that hasn’t happened this year...

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The Furniture: John Waters, Small-Business Advocate

Team Experience is celebrating John Waters for his 75th birthday. So here's a special episode of "The Furniture," by Daniel Walber, our series on Production Design. 

Pecker is a rare, quiet(er) film in the John Waters filmography. It’s not as outrageous as Pink Flamingos or Female Trouble, nor as bombastic as Hairspray or Serial Mom. It’s plenty lewd, of course, and it’s hardly devoid of yelling. But it’s understated.

After all, it’s a movie about photography - pictures over words, that sorta thing. It’s about capturing the essence of Baltimore in crisp snapshots. The titular Pecker (Edward Furlong) is an amateur photographer with a passion for the little moments of his life: a burger on the grill, the Hampden neighborhood welcome sign, rats mating in an alley...

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The Furniture: A Brief Tribute to Simone Signoret in a Brief Role

"The Furniture," by Daniel Walber, is a series on Production Design. 

Thursday marks 100 years since the birth of iconic French actress Simone Signoret. But how to celebrate? By my count, she was in three films nominated for Best Production Design. One of them, Is Paris Burning?, I covered way back in 2016. Another, Ship of Fools, also nabbed Signoret her second nomination for Best Actress. Unfortunately, it’s something of a bloated and maudlin mess.

That leaves us with La Ronde, a film made shortly before Signoret really burst into international stardom. She’s barely in it, playing a Viennese sex worker who bookends the meandering narrative. Even so, it’s her movie star quality that makes the whole thing work - that and the magic of Jean d’Eaubonne’s Oscar-nominated production design, of course. The film is Max Ophüls’s adaptation of an Arthur Schnitzler play, a circular jaunt that slips from paramour to paramour...

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The Furniture: "The Andromeda Strain" and Designing Around an Invisible Terror

"The Furniture," by Daniel Walber, is a series on Production Design. 

The Andromeda Strain is quite a potent movie these days. True, both Robert Wise’s film and the original Michael Crichton novel were primarily tapping into the anxiety of nuclear proliferation. But today, exactly 50 years since the film’s debut, it has become terrifyingly relevant for entirely different reasons.

The story begins with a satellite crash landing in New Mexico, bearing a mysterious extraterrestrial something that wipes out an entire town. A team of scientists is then brought to a top-secret underground facility in Nevada, codenamed “Wildfire,” to figure out what on earth is going on. It’s all about the fear of what we cannot see.

Which, of course, is a fascinating challenge for a design team...

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The Furniture: Giulietta Masina's House of Spirits

"The Furniture," by Daniel Walber, is a series on Production Design. 

This week we mark the centennial of actress Giulietta Masina, which I consider an opportunity to do something a little different. The Furniture, as you might expect, is rarely a column about performance. I spend a lot of time trying to get screenshots without any actors present at all. Production design often works in support of performance, or in parallel, but rarely are they what you might call intertwined.

In the films of Federico Fellini, Masina’s husband and collaborator, design often threatens to overwhelm or absorb performance. Actors become moving props in his most extravagant productions, rotating like carousel horses around a central figure or two. And these protagonists are often ciphers of style themselves, particularly when they’re played by Marcello Mastroianni.

Not so with 1965's Juliet of the Spirits. Masina is the well from which the entire production springs...

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