You have to be a problem solver, figuring out “how to get the best out of people from your team,” she said. You’ll be working with a lot of different personalities, and sometimes you’ll have to negotiate ideas or budget needs. You also need to have patience, said Rhee. “I looked up and there were just about 100 people walking towards stage to go in and start working, and it had never occurred to me just how much trust was given to me to have something ready for 100 people to show up,” he said. He remembers getting to “The Marvelous Mrs. Groom said you have to be able to juggle multiple duties and stay organized, because it’s a lot of responsibility. She recommends immersing yourself in architecture, fashion, history and sociology to be able to use those references in the world that you’re building. You’ll be given direction, but you should share your own ideas as well, she said. Barton said you have to be a listener, taking in the notes and comments of the director, showrunner or producer. “I cleared my plate and said, ‘I’m going to look through Craigslist and Facebook Marketplace at 1,000 motor homes until we find the right one,’” he said.īut it’s always a collaborative effort. The motor home idea was written into the later versions of the script. As Kisvarday worked with “Everything Everywhere” directors Daniel Kwan and Daniel Scheinert, he thought it would be funny if the Wang family had a motor home to make clean-laundry deliveries. The louder and weirder, the better, he said. And all of them said that a huge draw of being a production designer is the influence they have to visually guide a story. Many of the pros The Times spoke to have a background in architecture.
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