What do Wes Anderson, Steven Spielberg, and Steve McQueen have in common? They all rely on the worldbuilding skills of Oscar winner Adam Stockhausen (“The Grand Budapest Hotel”), one of the most eclectic production designers working today.
“Adam is a quiet comet,” said production designer Mark Friedberg (“Joker”), who mentored Stockhausen. “Despite his quiet demeanor, the intensity of his vision blazes. I met him when he had just started as a draftsman and brought him onto our team during ‘The Producers.’
“On our next film,’ Across the Universe,’ he got to design the giant street set, and by ‘Synecdoche New York,’ he was my art director. We held each other up (he held me up more) on ‘Darjeeling Limited’ in India, and by the end of that I knew he was destined for great things.”
Stockhausen conveyed a “Goya-esque” horror and beauty in McQueen’s “12 Years a Slave,” offsetting...
“Adam is a quiet comet,” said production designer Mark Friedberg (“Joker”), who mentored Stockhausen. “Despite his quiet demeanor, the intensity of his vision blazes. I met him when he had just started as a draftsman and brought him onto our team during ‘The Producers.’
“On our next film,’ Across the Universe,’ he got to design the giant street set, and by ‘Synecdoche New York,’ he was my art director. We held each other up (he held me up more) on ‘Darjeeling Limited’ in India, and by the end of that I knew he was destined for great things.”
Stockhausen conveyed a “Goya-esque” horror and beauty in McQueen’s “12 Years a Slave,” offsetting...
- 12/3/2019
- by Bill Desowitz
- Indiewire
‘The Favourite’ (Photo credit: 20th Century Fox)
Aussie production designer Fiona Crombie’s chances of winning her first Academy Award have received a boost after her work on Yorgos Lanthimos’ The Favourite was recognised by the Art Directors Guild.
The Favourite won the prize for best period film at the guild’s Excellence in Production Design Awards on Saturday at the InterContinental Los Angeles Downtown.
Black Panther was named best fantasy film while Crazy Rich Asians took the prize for contemporary film and Isle of Dogs best animated film. The key TV awards went to The Marvelous Mrs. Maisel and The Handmaid’s Tale.
In the past five years the winner of the guild’s period film category went on to win the Oscar in production design three times: For The Great Gatsby (2014), The Grand Budapest Hotel (2015) and The Shape of Water (2018), which also won best picture.
The production design...
Aussie production designer Fiona Crombie’s chances of winning her first Academy Award have received a boost after her work on Yorgos Lanthimos’ The Favourite was recognised by the Art Directors Guild.
The Favourite won the prize for best period film at the guild’s Excellence in Production Design Awards on Saturday at the InterContinental Los Angeles Downtown.
Black Panther was named best fantasy film while Crazy Rich Asians took the prize for contemporary film and Isle of Dogs best animated film. The key TV awards went to The Marvelous Mrs. Maisel and The Handmaid’s Tale.
In the past five years the winner of the guild’s period film category went on to win the Oscar in production design three times: For The Great Gatsby (2014), The Grand Budapest Hotel (2015) and The Shape of Water (2018), which also won best picture.
The production design...
- 2/3/2019
- by The IF Team
- IF.com.au
The Art Directors Guild Production Design Awards spread the wealth throughout 11 categories of film, television, commercials, music videos, and animated features. Feature film winners included period “The Favourite” (Fiona Crombie), fantasy “Black Panther” (Hannah Beachler), contemporary “Crazy Rich Asians” (Nelson Coates), and animated “Isle of Dogs”.
Anyone looking for clarity on the upcoming Academy Awards won’t get it here. Beachler, the Oscar favorite, for her brilliant world building of Wakanda, has already become the first African-American to be Oscar-nominated in her craft. A victory, though, would solidify the diversity breakthrough for production design.
Meanwhile, a win for Crombie would signify a stunning creative achievement. She transformed the palace (shot at Hatfield House) into a playground and battlefield with a lot of open spaces. The wood paneling and tapestries helped the pale-skinned actresses stand out more, especially with Sandy Powell’s Oscar-nominated monochrome costumes.
Television winners included “The Marvelous Mrs. Maisel...
Anyone looking for clarity on the upcoming Academy Awards won’t get it here. Beachler, the Oscar favorite, for her brilliant world building of Wakanda, has already become the first African-American to be Oscar-nominated in her craft. A victory, though, would solidify the diversity breakthrough for production design.
Meanwhile, a win for Crombie would signify a stunning creative achievement. She transformed the palace (shot at Hatfield House) into a playground and battlefield with a lot of open spaces. The wood paneling and tapestries helped the pale-skinned actresses stand out more, especially with Sandy Powell’s Oscar-nominated monochrome costumes.
Television winners included “The Marvelous Mrs. Maisel...
- 2/3/2019
- by Anne Thompson
- Indiewire
“The Favourite”, “Crazy Rich Asians” and “Black Panther” have been named the best-designed films of 2018 by the Art Directors Guild, which handed out its 23rd annual Excellence in Production Design Awards on Saturday night at the Intercontinental Los Angeles Downtown.
“The Favourite” won in the Period Film category, “Black Panther” in the Fantasy Film category and “Crazy Rich Asians” in the Contemporary Film category. “Isle of Dogs” won in the Animated Film category, as the Adg picked a separate winner from the Annie Awards, which gave its art direction prize to “Spider-Man: Into the Spider-Verse” the same night.
In the 22 years that the Adg has been handing out awards, one of its winners has gone on to win the Oscar for Best Production Design 15 times, including the last five years in a row. Most of the Oscar winners have come from the Adg’s period-film category.
Also Read: 'The Favourite': Oscar-Nominated Editor,...
“The Favourite” won in the Period Film category, “Black Panther” in the Fantasy Film category and “Crazy Rich Asians” in the Contemporary Film category. “Isle of Dogs” won in the Animated Film category, as the Adg picked a separate winner from the Annie Awards, which gave its art direction prize to “Spider-Man: Into the Spider-Verse” the same night.
In the 22 years that the Adg has been handing out awards, one of its winners has gone on to win the Oscar for Best Production Design 15 times, including the last five years in a row. Most of the Oscar winners have come from the Adg’s period-film category.
Also Read: 'The Favourite': Oscar-Nominated Editor,...
- 2/3/2019
- by Steve Pond and Jeremy Fuster
- The Wrap
The trophies for the 23rd Annual Art Directors Guild Awards were handed out on Saturday night at the InterContinental Los Angeles Downtown with two of the most game-changing inclusive films of the year Black Panther and Crazy Rich Asians taking home awards for film and The Marvelous Mrs. Maisel and The Handmaid’s Tale winning for TV.
Hosted by David Alan Grier, the annual award ceremony honors excellence in production design in film and television. Among the special honorees were Academy Award-winning filmmaker Rob Marshall who received the Adg Cinematic Imagery Award as well as Lifetime Achievement Award recipients that included Production Designer Jeannine Oppewall, Senior Illustrator and Production Designer Ed Verreaux, Scenic Artist Jim Fiorito and Set Designer and Art Director William F. Matthews.
Amanda N’Duka was on the scene at the ceremony. The night was light and not weighed down with the usual stress and political-driven speeches from regular award ceremonies.
Hosted by David Alan Grier, the annual award ceremony honors excellence in production design in film and television. Among the special honorees were Academy Award-winning filmmaker Rob Marshall who received the Adg Cinematic Imagery Award as well as Lifetime Achievement Award recipients that included Production Designer Jeannine Oppewall, Senior Illustrator and Production Designer Ed Verreaux, Scenic Artist Jim Fiorito and Set Designer and Art Director William F. Matthews.
Amanda N’Duka was on the scene at the ceremony. The night was light and not weighed down with the usual stress and political-driven speeches from regular award ceremonies.
- 2/3/2019
- by Dino-Ray Ramos and Amanda N'Duka
- Deadline Film + TV
“The Favourite,” “Black Panther” and “Crazy Rich Asians” walked away with top film honors at the 23rd annual Art Directors Guild Awards Saturday night.
“This journey started six years ago with ‘Fruitvale Station’ and a very awkward Skype interview,” Hannach Beachler, production designer of “Black Panther,” said in thanking director Ryan Coogler. “This journey has altered my life … Just learning about who I am and what I want this film to be, and really pushing the idea that design is not just brick and mortar. It’s not just wax, it’s not just paint. It’s your heart, it’s your soul, it’s everything we do every single day.”
In the TV fields, “The Handmaid’s Tale,” “Glow” and “The Marvelous Mrs. Maisel” were among the winners.
Oscar-nominated production designer Jeannine Oppewall and Adg-nominated production designer Ed Verreaux (“Jurassic Park”) received lifetime achievement awards from the organization.
“I...
“This journey started six years ago with ‘Fruitvale Station’ and a very awkward Skype interview,” Hannach Beachler, production designer of “Black Panther,” said in thanking director Ryan Coogler. “This journey has altered my life … Just learning about who I am and what I want this film to be, and really pushing the idea that design is not just brick and mortar. It’s not just wax, it’s not just paint. It’s your heart, it’s your soul, it’s everything we do every single day.”
In the TV fields, “The Handmaid’s Tale,” “Glow” and “The Marvelous Mrs. Maisel” were among the winners.
Oscar-nominated production designer Jeannine Oppewall and Adg-nominated production designer Ed Verreaux (“Jurassic Park”) received lifetime achievement awards from the organization.
“I...
- 2/3/2019
- by Kristopher Tapley
- Variety Film + TV
“Roma,” “Black Panther,” “A Quiet Place,” and Golden Globe winner “Spider-Man: Into the Spider-Verse” lead the nominees for the 23rd Annual Adg production design awards in the categories of period, fantasy, contemporary, and animated films. The awards will be held February 2 at the InterContinental.
“A Star Is Born” (Karen Murphy), “Crazy Rich Asians” (Nelson Coates), and “Mission: Impossible — Fallout” (Peter Wenham) made the cut for contemporary. Other period nominees included “The Ballad of Buster Scruggs” (Jess Gonchor), “Bohemian Rhapsody” (Aaron Haye), “First Man” (Nathan Crowley), and “The Favourite” (Fiona Crombie). “Green Book” and “If Beale Street Could Talk” were snubbed.
For fantasy, “Mary Poppins Returns” (John Myhre) joined “Ready Player One” (Adam Stockhausen), and Stockhausen was also a nominee for Wes Anderson’s stop-motion animated “Isle of Dogs,” sharing with co-production designer Paul Harrod.
Nominees For Excellence In Production Design For A Feature Film:
1. Period Film
“The Ballad Of Buster Scruggs...
“A Star Is Born” (Karen Murphy), “Crazy Rich Asians” (Nelson Coates), and “Mission: Impossible — Fallout” (Peter Wenham) made the cut for contemporary. Other period nominees included “The Ballad of Buster Scruggs” (Jess Gonchor), “Bohemian Rhapsody” (Aaron Haye), “First Man” (Nathan Crowley), and “The Favourite” (Fiona Crombie). “Green Book” and “If Beale Street Could Talk” were snubbed.
For fantasy, “Mary Poppins Returns” (John Myhre) joined “Ready Player One” (Adam Stockhausen), and Stockhausen was also a nominee for Wes Anderson’s stop-motion animated “Isle of Dogs,” sharing with co-production designer Paul Harrod.
Nominees For Excellence In Production Design For A Feature Film:
1. Period Film
“The Ballad Of Buster Scruggs...
- 1/7/2019
- by Bill Desowitz
- Indiewire
The Art Directors Guild has announced nominations for the 23rd Annual Excellence in Production Design Awards in film, TV, commercials, videos and animation features. Among the candidates: The Ballad of Buster Scruggs, The Favourite and Roma, and, on the TV side, Sharp Objects and Glow.
Winners will be honored Saturday, February 2 in Los Angeles. The nominees were announced today by Adg President Nelson Coates, Adg, and Awards Producer Scott Moses, Adg. A tie in the Short Format: Web Series, Music Video or Commercial category resulted in six nominees this year.
As previously announced, the Adg Cinematic Imagery Award will be handed out to director Rob Marshall (Mary Poppins Returns) and both Anthony Masters (2001: A Space Odyssey) and Benjamin Carré will be inducted into the Adg Hall of Fame. Lifetime Achievement Awards will be presented to Jeannine Oppewall,...
Winners will be honored Saturday, February 2 in Los Angeles. The nominees were announced today by Adg President Nelson Coates, Adg, and Awards Producer Scott Moses, Adg. A tie in the Short Format: Web Series, Music Video or Commercial category resulted in six nominees this year.
As previously announced, the Adg Cinematic Imagery Award will be handed out to director Rob Marshall (Mary Poppins Returns) and both Anthony Masters (2001: A Space Odyssey) and Benjamin Carré will be inducted into the Adg Hall of Fame. Lifetime Achievement Awards will be presented to Jeannine Oppewall,...
- 1/7/2019
- by Greg Evans
- Deadline Film + TV
“The Favourite,” “Roma,” “First Man,” “Bohemian Rhapsody” and “The Ballad of Buster Scruggs” on Monday all nabbed nominations for the Art Directors Guild Awards’ period-film category, the Adg category that most closely corresponds to the Academy Award for Best Production Design.
In the Adg fantasy-film category, which typically supplies one or two Oscar nominees, the guild singled out “Black Panther,” “Fantastic Beasts: The Crimes of Grindelwald,” “The House With a Clock in its Walls,” “Mary Poppins Returns” and “Ready Player One.”
Nominees in the contemporary-film category are “A Quiet Place,” “A Star Is Born,” “Crazy Rich Asians,” “Mission: Impossible – Fallout” and “Welcome to Marwen.”
Also Read: Producers Guild Awards Nominations Include 'Roma,' 'Black Panther,' 'A Star Is Born' - and Also 'Crazy Rich Asians'
Animated-film nominees are “Dr. Seuss’ The Grinch,” “The Incredibles 2,” “Isle of Dogs,” “Ralph Breaks the Internet” and “Spider-Man: Into the Spider-Verse.
In the Adg fantasy-film category, which typically supplies one or two Oscar nominees, the guild singled out “Black Panther,” “Fantastic Beasts: The Crimes of Grindelwald,” “The House With a Clock in its Walls,” “Mary Poppins Returns” and “Ready Player One.”
Nominees in the contemporary-film category are “A Quiet Place,” “A Star Is Born,” “Crazy Rich Asians,” “Mission: Impossible – Fallout” and “Welcome to Marwen.”
Also Read: Producers Guild Awards Nominations Include 'Roma,' 'Black Panther,' 'A Star Is Born' - and Also 'Crazy Rich Asians'
Animated-film nominees are “Dr. Seuss’ The Grinch,” “The Incredibles 2,” “Isle of Dogs,” “Ralph Breaks the Internet” and “Spider-Man: Into the Spider-Verse.
- 1/7/2019
- by Steve Pond
- The Wrap
In his first collaboration with Wes Anderson on Isle of Dogs, Paul Harrod translated an auteur’s live-action style to stop-motion, a medium that allowed for a spectacular visual presentation, but came with a set of limitations that proved problematic. Gathering reference materials and establishing certain visual parameters early on was Adam Stockhausen, an Oscar-winning production designer who has been the auteur’s go-to craftsman since Moonrise Kingdom, and had to leave the production early on, heading into the Vr world of Steven Spielberg’s Ready Player One.
Picking up the baton, co-production designer Harrod brought 30 years of stop-motion experience to Anderson’s set, realizing early on that this production would challenge him like no other. Set in a specific vision of Japan—caught between past, present and future— the film would follow Atari, a young boy who goes on an odyssey in search of his lost dog. “Wes likes everything to be in focus,...
Picking up the baton, co-production designer Harrod brought 30 years of stop-motion experience to Anderson’s set, realizing early on that this production would challenge him like no other. Set in a specific vision of Japan—caught between past, present and future— the film would follow Atari, a young boy who goes on an odyssey in search of his lost dog. “Wes likes everything to be in focus,...
- 11/28/2018
- by Matt Grobar
- Deadline Film + TV
Every year, the festival wing, appropriately titled El Festival, of Mexico’s Pixelatl – an association dedicated to the creation and promotion of multimedia content – takes center stage as Mexico’s premier event linking students and professionals in animation, comics and video games to the international marketplace. Held over five days in the city of Cuernavaca, Morelos, about an hour from Mexico City, awards were handed out over the weekend.
Pixar’s Lee Unkrich was awarded the Chinelo in Animation, a career achievement award which last year went to Oscar-nominated stop-motion director Henry Selick, responsible for “The Nightmare Before Christmas” and “Coraline,” and in 2015 was given to special effects pioneer Phil Tippet, who scored Oscars for both “Jurassic Park” and “Star Wars: Episode VI – Return of the Jedi.”
The top prize for a series went to Edino Ferrera’s “Curtis & Bean” a Mexico-Argentina co-production geared towards kids between six and nine years old.
Pixar’s Lee Unkrich was awarded the Chinelo in Animation, a career achievement award which last year went to Oscar-nominated stop-motion director Henry Selick, responsible for “The Nightmare Before Christmas” and “Coraline,” and in 2015 was given to special effects pioneer Phil Tippet, who scored Oscars for both “Jurassic Park” and “Star Wars: Episode VI – Return of the Jedi.”
The top prize for a series went to Edino Ferrera’s “Curtis & Bean” a Mexico-Argentina co-production geared towards kids between six and nine years old.
- 9/14/2018
- by Jamie Lang
- Variety Film + TV
For Adam Stockhausen, it was a wild ride doing back-to-back world building on Wes Anderson’s “Isle of Dogs” and Steven Spielberg’s “Ready Player One.” It was not only the production designer’s first foray into stop-motion and CG animation, but he also got to incorporate a cornucopia of cinematic references: ’60s Japanese movies for Anderson, and ’80s classics for Spielberg.
However, while the analog-driven “Isle of Dogs” was low-tech with puppets and scaled sets, “Ready Player One” offered cutting-edge digital tech for the eye-popping Vr gaming world of Oasis. Yet both had to be built from scratch, piece by piece, and both started off with traditional sketching and concept art before intertwining with their respective animation and visual effects teams. The common denominator was: “How do we make this feel real?” said Stockhausen (who won the Oscar for Anderson’s “The Grand Budapest Hotel” before entering Spielberg’s...
However, while the analog-driven “Isle of Dogs” was low-tech with puppets and scaled sets, “Ready Player One” offered cutting-edge digital tech for the eye-popping Vr gaming world of Oasis. Yet both had to be built from scratch, piece by piece, and both started off with traditional sketching and concept art before intertwining with their respective animation and visual effects teams. The common denominator was: “How do we make this feel real?” said Stockhausen (who won the Oscar for Anderson’s “The Grand Budapest Hotel” before entering Spielberg’s...
- 3/30/2018
- by Bill Desowitz
- Indiewire
If Adam Stockhausen does the job well, you won’t notice — and he’ll have made Steven Spielberg, Wes Anderson, Steve McQueen, and Noah Baumbach happy. The production designer’s CV is among the most enviable and, per the Academy, acclaimed in contemporary film, but this year is an especially notable month, seeing as it does the release of Anderson’s Isle of Dogs and Spielberg’s Ready Player One. Having seen one and seen material from the other, surely there’d be a lot to ask… except for the fact that this interview was conducted at Camerimage in November, months before either even screened. But more than a good overview of how those directors do what they do so well, the following details his alternately painstaking, exhausting, and, sometimes, invisible contributions to the art.
The Film Stage: Do you have a “production design” eye for everywhere?
Adam Stockhausen: You’re kind of looking.
The Film Stage: Do you have a “production design” eye for everywhere?
Adam Stockhausen: You’re kind of looking.
- 3/28/2018
- by Nick Newman
- The Film Stage
For “Isle of Dogs,” Wes Anderson created an epic love letter to Japanese cinema of the ’60s wrapped in a canine buddy movie. And like “Fantastic Mr. Fox,” the quirky, detail-oriented director once again embraced the old-school roots of stop-motion animation, luxuriating in its crude, analog charms (the antithesis of Laika’s acclaimed polish).
“Isle of Dogs” was conceived by Anderson and his screenwriting collaborators (Roman Coppola, Jason Schwartzman, and Kunichi Nomura) as a pack of alpha dogs exiled to a garbage-dump as a result of a political conspiracy in Japan. So they cross-bred the urban milieu of Kurosawa’s “High and Low” with the tech surroundings of “Godzilla.”
The adventure they fashioned involved 12-year-old Atari (Koyu Rankin) and intrepid teenage reporter Tracy (Greta Gerwig) taking on corrupt and intolerant Mayor Kobayashi (Kunichi Nomura), and rescuing their city and the dogs (voiced by Bryan Cranston, Scarlett Johansson, Edward Norton, Bill Murray,...
“Isle of Dogs” was conceived by Anderson and his screenwriting collaborators (Roman Coppola, Jason Schwartzman, and Kunichi Nomura) as a pack of alpha dogs exiled to a garbage-dump as a result of a political conspiracy in Japan. So they cross-bred the urban milieu of Kurosawa’s “High and Low” with the tech surroundings of “Godzilla.”
The adventure they fashioned involved 12-year-old Atari (Koyu Rankin) and intrepid teenage reporter Tracy (Greta Gerwig) taking on corrupt and intolerant Mayor Kobayashi (Kunichi Nomura), and rescuing their city and the dogs (voiced by Bryan Cranston, Scarlett Johansson, Edward Norton, Bill Murray,...
- 3/23/2018
- by Bill Desowitz
- Indiewire
A star-powered group of voice actors that includes Yoko Ono, Bryan Cranston, Frances McDormand, Bill Murray, Jeff Goldblum, Greta Gerwig and Scarlett Johansson join forces in Wes Anderson’s stop-motion animation feature Isle of Dogs, but beneath the dazzling cinematography is a critique of the way humans treat our environment.
In the film, after an extensive propaganda campaign blames a flu outbreak on local dogs, the Megasaki City government exiles the canines to Trash Island, the city's floating garbage dump. Isle of Dogs begins later, as 12-year-old Atari Kobayashi searches Trash Island for his missing dog, Spots.
Paul Harrod, who worked...
In the film, after an extensive propaganda campaign blames a flu outbreak on local dogs, the Megasaki City government exiles the canines to Trash Island, the city's floating garbage dump. Isle of Dogs begins later, as 12-year-old Atari Kobayashi searches Trash Island for his missing dog, Spots.
Paul Harrod, who worked...
- 3/21/2018
- by Michael Waters
- The Hollywood Reporter - Movie News
Say “Isle of Dogs” fast and it comes out sounding an awful lot like “I Love Dogs” — which makes sense, since that’s pretty much the chief takeaway from Wes Anderson’s delightful new animated feature. , this leisurely tale of abandoned mutts taking on a corrupt human government is effectively puppy-treat cinema: small, salty, perhaps not an entire meal, but rewarding nonetheless.
More than any part of its slender, precarious narrative, “Isle of Dogs” is really a film about its own enthusiasms: for four-legged fleabags of all shapes and sizes, of course, but also for the culture and cinema of Japan, which is woven with typical fastidiousness into Anderson’s magpie aesthetic. That makes it a markedly more eccentric proposition than Anderson’s first feature-length foray into stop-motion, 2009’s “Fantastic Mr. Fox” — and with a PG-13 rating for its dry adult comedy, mostly played in a limbo-low key, a niche commercial prospect,...
More than any part of its slender, precarious narrative, “Isle of Dogs” is really a film about its own enthusiasms: for four-legged fleabags of all shapes and sizes, of course, but also for the culture and cinema of Japan, which is woven with typical fastidiousness into Anderson’s magpie aesthetic. That makes it a markedly more eccentric proposition than Anderson’s first feature-length foray into stop-motion, 2009’s “Fantastic Mr. Fox” — and with a PG-13 rating for its dry adult comedy, mostly played in a limbo-low key, a niche commercial prospect,...
- 2/15/2018
- by Guy Lodge
- Variety Film + TV
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