In advance of the ADG Awards, expert artisans offer an insider’s perspective on some of the nominees, from “Dune” to “Squid Game.”
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'Nightmare Alley'
Image Credit: Courtesy of Kerry Hayes/20th Century Studios Period Feature Film
Production Designer: Tamara Deverell
Appraised by: Nelson Coates, Production Designer, ‘In the Heights’; President, ADGA unique challenge for period film designers is creating a fresh, authentic visual path to support themes of story and fashioning imagery to add depth and familiarity, while transporting contemporary audiences into a plausible past. The evocative, shadowy environments designed by Tamara Deverell for “Nightmare Alley” create a haunting yet alluring sense of place through a rich, dark palette and dense layers of classic Americana to translate period into modern relevance. Expert integration of fabricated sets and modified locations conjure a seamless, evocative throughline, propelling the narrative into a visually enhanced journey, much the way carnival rides perilously propel riders. Specificity of line, detail and color, transitioning from clutter to the tailored gloss and control of Deco, establishes a riveting visual one-upmanship as the stakes get higher. More than just presenting environments, the design team seamlessly creates a densely layered narrative introducing multiple planes of danger and intrigue to keep the characters, as well as the audience, on the precipice of demise.
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'Dune'
Image Credit: Courtesy of Chia Bella James/Warner Bros. Fantasy Feature Film
Production Designer: Patrice Vermette
Appraised by: Miranda Cristofani, Production Designer, ‘Honor Student’A reoccurring theme in Denis Villeneuve’s work is that dreams are messages from the deep, and in his latest film, “Dune,” Patrice Vermette manifests bold worlds with subtle light-catching details that possess a connection to the past and a stylized aesthetic of the future. Vermette does this successfully by deeply rooting his design and visual language in reality, with nods to cross-cultural references, artists and architects, from John Portman’s stone ribbing in the Barons chamber, to Japanese architecture and Frank Lloyd Wright in Paul’s training room, to Brutalist architecture in the ecological refuge, to his wife who designed the wall relief koi. Fashioning each world from its fictional natural resources and creating throughlines of pattern, shape and symbolism, unifies rich scenery and renders a new realm of imagination. It’s a brilliant work of design tapestry, blending layers of history and hidden psychology, into a fifth-dimensional universe.
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‘No Time to Die’
Image Credit: Courtesy of MGM/Nicole Dove Contemporary Feature Film
Production Designer: Mark Tildesley
Appraised by: Chuck Parker, Production Designer, ‘Beyond the Trek’Being hired to design a Bond movie is the dream of many. To be chosen by a director as the production designer for Daniel Craig’s denouement performance as Bond, only to learn that the director is leaving the project, would be a nightmare. To then have your design concepts accepted by the incoming director and be asked to remain on the picture borders on resurrection. Mark Tildesley has created an evocative world for “No Time to Die” that is more than worthy of the iconic franchise. Using visual references to Bond cinematic vernacular throughout the film and getting the correct architectural scale in the scenes, he has successfully evoked the scope of Ken Adams’ original designs while making the look his own by skillfully adapting elements of contemporary urban architecture, dramatically lit and shot by cinematographer Linus Sandgren. The resulting look is splendid yet grounded.
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‘The Mitchells vs. the Machines’
Image Credit: Courtesy of Netflix/Everett Collection Animated Feature Film
Production Designer: Lindsey Olivares
Appraised by: Claire Bennett, Production Designer, “Mr. Mayor”“The Mitchells vs. the Machines” is a refreshing display of innovative animation. Refreshing because the Mitchell family has a wonderful, organic, hand-drawn quality, and the heart of the story is very relatable. The characters are fresh and funny, with a mixture of deftly rendered yet partially cartoonish qualities. It’s a visual balance that seems more accessible than the perfectly proportioned rendering we are used to seeing. This wacky, doodling-in-the-margins sensibility resonates within the plot itself. The messy yet naturalist environments demonstrate a perfect backdrop of relationships between the characters as well as their conflicts. With both a story and the style that is so visually engaging and relevant to our time (artificial intelligence taking over the world!), the film is marvelously entertaining on multiple levels for the whole family.
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‘Loki: Glorious Purpose’
Image Credit: Courtesy of Disney Plus One-Hour Single-Camera Period or Fantasy Series
Production Designer: Kasra Farahani
Appraised by: Judy Cosgrove, Art Director, ‘Cougar Town’Brutalism meets midcentury modern. That sums up Farahani’s monumental and dramatic style for the premiere episode of “Loki.” Pattern and scale are used with great effect to create an oppressive bureaucratic environment that serves as the antagonist in this story as revealed by long and sumptuous wide shots of floors and full architectural ceilings. The production design is breathtakingly rich, and the money clearly made it to the screen. There is magic in the power of the visuals in this production, and that’s why Kasra Farahani’s ADG nomination is well-deserved.
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‘Squid Game: Gganbu’
Image Credit: Courtesy of Netflix One-Hour Single-Camera Contemporary Series
Production Designer:Chae Kyoung-sun
Appraised by: Korey Washington, Production Designer, ‘All Rise’Without any fanfare or warning, this episode reveals several of the most dynamic sets in the series. The nod to M.C. Escher was well executed and revealed in a brilliant use of color and scale. The internal lair set could have been in any number of styles from opulent to minimalist. Chae’s simple use of black glossy faceted panels in an otherwise dimly lit room sparkled and gave us a glimmering jewelry box seemingly only lit by a few chandeliers. Finally, the decision to create a familiar environment with a local neighborhood was simple but great in the subtle use of detail and scale. The series has maintained a generic approach to location but diverted expertly to realism in this singular game that cleverly cuts the player field in half. The design and execution anchor the series with award-winning looks and visuals.
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‘The Underground Railroad’
Image Credit: Atsushi Nishijima/Amazon Television Movie or Limited Series
Production Designer: Mark Friedberg
Appraised by: Dawn Snyder, Production Designer, ‘On My Block’Imagine the once-in-a-lifetime opportunity where the project you’re embarking on is the confluence of your life’s passion and your craft. Thus began Friedberg’s journey as he commenced a yearlong prep for “Underground Railroad” with director Barry Jenkins. As an American history major in college, he developed a passion for civil rights while considering art his religion. The miniseries challenges the notion that our best literary form is the feature-length film, when in fact each episode of “Underground Railroad” became its own film with a unique look that evolved from the physical and narrative setting. The story is told through chilling visuals of weathered slave shacks, burning villages, the promise of freedom in the cities, and eventual escape – all beautifully designed and meticulously crafted. It’s a vision inspired by the tight-knit collaboration of Jenkins’ lived experiences and the Friedberg’s knowledge and craftmanship.
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‘Only Murders in the Building: True Crime’
Image Credit: Courtesy of Craig Blankenhorn/Hulu Half-Hour Single-Camera Series
Production Designer: Curt Beech
Appraised by: dooner, Art Director, ‘Maniac’In his design for “Only Murders in the Building,” Beech has created a love letter to the city of New York and the wonderful, unique individuals who reside there. While much of the series takes place in the building, we never get bored because the domain of each character is so distinct. Traveling through the building’s well-kept halls, we never know what world we will discover behind the next door. Each apartment we enter has its own personality, a reflection of its occupant. Like any good murder mystery, the answers are in the details and Beech and his team have told us a lot of about each character through these residences. The show avoids becoming claustrophobic by taking us to scenes in locations around the city, reminding us that the building is a microcosm of the larger world occupied by strangers from disparate backgrounds who sometimes come together to solve life’s mysteries.
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‘The Conners: A Stomach Ache, a Heartbreak and a Grave Mistake,’ ‘An Old Dog, New Tricks and a Ticket to Ride’
Image Credit: Courtesy ABC Multi-Camera Series
Production Designer: John Shaffner
Appraised by: Jerry Dunn, Production Designer, ‘Fuller House’“Always stay true to your audience” is a phrase used in marketing and branding, and that’s what Shaffner has brilliantly accomplished in designing the remake of “Roseanne” and its re-creation for “The Conners.” As originally conceived, “Roseanne” was created to be a realistic portrayal of a working-class family, which was the norm in 1980s’ television. In this submission, we follow the Conner family from the local hardware store on Main Street to Darlene’s best friend’s front porch and then onto the local Biergarten for a pint and a brat for a singalong with an oompah band. It ends with an episode showcasing the original Lunchbox Restaurant, and the Conners deal with people from the other side of the tracks at Josh’s Mansion. Shaffner stays true to the show’s audience and proves more than worthy of his ADG nomination.
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Anheuser-Busch Super Bowl LV: ‘Let’s Grab a Beer’
Image Credit: Screenshot Courtesy of Anheuser-Busch Commercials
Production Designer: Donald Graham Burt
Appraised by: John Iacovelli, Production Designer, ‘Los Americans’Ten vignettes tell little stories in the terrific Anhauser-Busch Super Bowl LV commercial called “Let’s Grab a Beer.” Burt transports us seamlessly through a series of small movies, each crafted like a detailed etching: a wedding ruined by the rain, a restaurant kitchen after work, a bar where flight attendants hang out after their flight was cancelled, a concert hall with an orchestra after a not-soperfect concert, an office following layoffs, a funeral, a guy digging his car out from the snow. The commercial is about life’s meaningful moments, both in celebration and defeat. Each vignette is meticulously rendered in a pitch-perfect setting informing the universal appeal of this brand.
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Ed Sheeran: ‘Shivers’
Image Credit: Screenshot Courtesy of YouTube/WMG Music Videos
Production Designer: François Audouy
Appraised by: Denny Dugally, Production Designer, “The Kominsky Method”Music video is the perfect union of a catchy tune married to an unforgettable visual experience. In “Shivers” by Ed Sheeran, Audouy takes the viewer on an amazing journey. It’s a feature film all tied up in three minutes and 58 seconds of fun, fantasy and love. In the embodiment of Sheeran, you’re invited to climb aboard, keep your eyes open and your mind as well, with Audouy’s vision as host. Surrounded by pop references, a bunch of mini tableaus and a color palette to die for, you can’t help but smile all the way through this video. And as you accept the invitation, you find yourself watching it again and again and again! Bravo!
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‘Saturday Night Live'
Image Credit: Courtesy of Rosalind O'Connor/NBC Variety, Reality or Competition Series
Host: Dan Levy + Music: Phoebe Bridgers, Host: Maya Rudolph + Music: Jack Harlow, Host: Kim Kardashian West + Music: Halsey
Production Designers: Keith Raywood, Eugene Lee, Akira Yoshimura, N. Joseph De Tullio
Appraised by: John Iacovelli, Production Designer, ‘Los Americans’The episode hosted by Dan Levy with musical guest Phoebe Bridgers was one of the more memorable of “Saturday Night Live.” Unlike any show on the air, “SNL” takes a team of production designers to keep the juggernaut on schedule and constantly amazing viewers. There is an equally strong support team of crackerjack set decorators, painters, and artisans who seem to never sleep. My favorite part of this spectacle is the little “peep shows” between the commercials showing the set being put up. When hilarity ensues on this program it is often couched in the witty and knowing backgrounds, where even a jaded television designer like myself guffaws out loud. Bridgers’ skeleton-clad band was in the perfect environment for her music. (Full disclosure: I know Phoebe’s parents and she was one of the few kids ever allowed to attend my parties.)
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‘Jim Gaffigan: Comedy Monster’
Image Credit: Courtesy of Jenn Ackerman/Netflix Variety Special
Production Designer: James Kronzer
Appraised by: Mimi Gramatky Stradling, Production Designer, ‘Woodie’s Kitchen’Theatrical designer Kronzer’s life in TV began 10 years ago with a design for a comedy project shot in a familiar theater. Most recently, on the Netflix “Comedy Monster” special, he worked with comedian Jim Gaffigan for the seventh time, and they shot once again in the same theater. But they didn’t want to repeat themselves. “Jim tends to like simple, uncomplicated visuals behind him,” Kronzer said. Changing the bare back wall, he designed an arced, uneven brick surface, which he had printed at theatrical fabrics supplier Rose Brand. “Replacing the boom in the wings we found some retro-looking fixtures for the sideshots.” Tying into the raw industrial space look, Kronzer added lights overhead for a visual ceiling. Gaffigan wanted a grand piano; he can’t play, but he used it for a funny bit in the show. Viewed from any angle, Konzer provided a great-looking, simple, and uncomplicated set for “Comedy Monster.”