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“Babylon” has swept, but Catherine Martin has never won only one Oscar on a night. She’s typically won both production and costumes and is considered the favorite for “Elvis” in the latter category. Watch out for the triple-nominated woman or even “All Quiet on the Western Front,” which could hint at a possible best picture victory (but still, highly unlikely).
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“We ended up with literally kilometers of carpet that Bev had printed to match the actual carpet that existed in the late ’60s and early ’70s,” the production designer tells us. What appealed to Martin was visually conveying the historical context amidst the explosion of youth culture during a very prosperous yet segregated ’50s America. The Poor Things team also took the Art Directors Guild’s Fantasy film award for production design last month and Oppenheimer took the ADG’s Period film award.
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While designing the Metkayina landscape, production designers Dylan Cole and Ben Procter went through rigorous rounds of edits that fine-tuned every texture, from coral to fish skins to exotic jellyfish membranes. “Finding the balance between familiar and alien was a constant challenge,” says Cole, noting that if a film’s landscape is too far out there, the audience won’t find it recognizable or relatable. “We looked at everything through a National Geographic lens rather than a sci-fi fantasy lens.… It couldn’t just look cool, it had to make sense,” he added. The team then collaborated with Weta Workshop in New Zealand—along with master craftspeople and weavers—to make a 14-foot-tall “bigature” of the Sully home at Metkayina Village.
Production design by Florencia Martin; set decoration by Anthony Carlino
But today, we’re going to honor the great production designers of Hollywood by looking at every Academy Award for Best Production Design winner – then we’ll rank some of the best production designs of all-time. Before we rank the “best” Best Production Design winners, we’ll build a moodboard you can reference when in need of creative inspiration. Roll out that red carpet, don your fanciest glad rags, and pour that bubbly because Oscar season is upon us!
As for the residential ballroom that was supposedly the setting for the massive party scene inside Wallach’s mansion, the team added their gilded touch to the opulent Spanish Gothic foyer of the Ace Theater in downtown Los Angeles. This involved creating a massive pair of Gothic doors, multiple Gothic furnishings sourced from Belgium, custom tables that were manufactured to withstand the heavy stunt work, and an elaborate floor emblem inlay on tiled parquet floors for a final ode to opulence. “Damien wanted it to feel like the farthest-out design style that would make sense in the desert,” Martin noted. Set designer Paul Sonski drew up a lush paneled bedroom and hallway, anchored by a massive 100-year-old fireplace salvaged locally. “These were high-finish, difficult builds and took a huge amount of labor and passion to execute,” says Procter. “We needed soundstages in two cities to accommodate them.” And even in the human world, digital enhancement was necessary to complete these expansive environments for the screen.
Oscars Best Production Design nominees: 4 past champs versus 8 rookies
Production designer William Cameron Menzies didn’t receive the Academy Award for Best Production Design for his supervisory work on Gone With the Wind; but he was honored in 1929 for The Dove and Tempest. By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.
Production design by Catherine Martin and Karen Murphy; set decoration by Beverley Dunn
In addition to best director, Nolan was also nominated tonight for best adapted screenplay, which ultimately went to Cord Jefferson for "American Fiction." During his acceptance speech, Nolan thanked Universal Studios and the authors of the biography on which the movie is based, "American Prometheus," by Kai Bird and Martin J. Sherwin. Other nominees in the category included "American Fiction," "Anatomy of a Fall," "Barbie," "The Holdovers," "Killers of the Flower Moon," "Maestro," "Past Lives," "Poor Things" and "The Zone of Interest." "The Holdovers" star Da'Vine Joy Randolph and "Oppenheimer" star Robert Downey Jr. snagged wins in the supporting acting categories.
Oscar predictions: What do last decade of Best Production Design winners tell us about this year? - Gold Derby
Oscar predictions: What do last decade of Best Production Design winners tell us about this year?.
Posted: Thu, 21 Dec 2023 08:00:00 GMT [source]
Yet there’s still hope for “House of Gucci,” “Dune,” or “The Eyes of Tammy Faye” taking the Oscar because they all boast complex transformations. In Ridley Scott’s “House of Gucci,” Oscar-nominated prosthetics designer Göran Lundströn (“Border”) got creative transforming the unrecognizable Jared Leto into the balding and chubby would-be fashion designer Paolo. He and his team of Anna Carin Lock and Frederic Aspiras did some reverse engineering to obliterate the look of the long-haired, thin actor (who wore a fat suit), with a three-piece bald cap, a wig, more than half a dozen prosthetic pieces, and a tweaked mustache.
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Sammy, a semiautobiographical version of Spielberg himself, uses movies as a means to both interpret and escape all the bittersweetness that comes with growing up, and it was up to two-time Academy Award–winning production designer Rick Carter to capture those complex feelings on screen. You have to give credit where credit is due – I don’t love Titanic, but I can appreciate the film’s production design. According to production designer Peter Lamont, the team used archival photographs and blueprints to match the ship’s interiors to the original. The “Coming 2 America” team of Mike Marino, Stacey Morris, and Carla Farmer perfectly complemented the Afro-punk vibe introduced by Oscar winning-costume designer Ruth Carter in updating Prince Akeem (Eddie Murphy) and Semmi (Arsenio Hall) and the other characters. Murphy’s Prince Akeem benefits from red cheeks and lips, smoky shadows, and an abundance of lashes. While the Nextdorian tribe of the younger generation are the trend setters, adorning their hair in artistic ways.
But to arrive on set ready to perform as Paolo, Leto had Lundströn apply his tour de force prosthetics elsewhere, hidden from the rest of the cast. I’m happy that the film is here, because the few buildings feel authentic, and the transportation to one hundred years ago is fully believable. The battlefield was built on a flat airfield that’s about the size of three football fields outside of Prague. Originally a flat piece of grassy land, the team took their shovels to it in January, digging through frozen earth. A “greens crew,” which eventually was dubbed the “Mud Crew,” then came in to re-cover every square inch of the battlefield with this concocted mud solution. The 350 running meters of trench, built with materials that would have been used in 1917, underwent a process of burning, sandblasting, foundation color, and a final patina that merged it all together—all topped with a layer of gloss that gave the walls an ever-damp look.
James Price and Shona Heath, along with set decorator Zsuzsa Mihalek, was the production design team behind the Searchlight Pictures film. "The other night, I was panicking -- as you can see, happens a lot -- that maybe something like this could happen," she continued. There’s no denying that period piece movies have a better chance of winning the Academy Award for Best Production design than non-period piece movies do. But rather than recreate a contrived period, such as Victorian England, director David Lean often recreated obscure settings, such as the Burma Railway in The Bridge on the River Kwai, British Raj India in A Passage to India, and the Russian Revolution in Doctor Zhivago.
Production took over numerous soundstages at the Origo Studios in Budapest, where they built the complete worlds of London and Baxter’s house (in black-and-white), the ocean liner ship, the Paris square and brothel, and the Alexandria hotel and slums. For the city of Lisbon, they made composite sets on the largest sound stage in continental Europe at Korda Studios in Budapest. The production designer is responsible for the look of a film, which includes finding locations, designing and building sets, and running the art department. Although the name of this category has changed over the past nine-and-a-half decades, the general principle is the same, with this Oscar going both to a film’s production designer(s) and its set decorator(s). I’ve already written about this category essentially being between “Barbie” and “Poor Things,” but the best thing to do is keep an eye on the Art Directors Guild (ADG) Awards on Saturday, February 10. It’s one of the few precursors where “Barbie” and “Poor Things” are nominated in the same category (Best Fantasy Film Design).
With a sharp, center-parted bob styled by Alexander Armond using Maui Moisture products and sweet pink lips. Host Amy Schumer wore her locks in a side-parted Old School Hollywood style, while songstress Becky G (who will be performing a tune from Encanto) wore hers sleek with a center part and Licorice Pizza star Alana Haim showed off smooth bends. Using “To Leslie” as an example, the Oscar-nominated film only played in six theaters after its SXSW breakout. The Academy’s Board of Governors has released the official awards rules and campaign promotional regulations for the 97th Academy Awards, to be held on March 2, 2025. Film illustrator Joanna Bush used ILM technology to add turrets and towers, set designer Chris Cortner added an elaborate 27-foot-tall entrance to the ballroom, and greensman Alex Sessing relandscaped the exterior to emulate a freshly planted garden with baby palms and cypress.
For instance, David Fincher’s “Mank” (2020) was heavily favored to win production design, but surprised everyone with a win in cinematography. Similarly, last year, many were tipping Damien Chazelle’s “Babylon” for success after a triumphant season, despite its absence in the best picture category. However, it lost to the German-war drama “All Quiet on the Western Front,” which was a picture nominee.
To see the ranked predictions for each individual category, visit Variety’s Oscars Hub. With an updo and bold, ruby lips painted by makeup artist Mary Greenwald using Byredo Lipstick in Red. With an intricately woven chignon styled by Marcus Francis using Better Not Younger and jewel-tone eyes done by makeup artist Sarah Uslan. Uslan prepped the Best Actress nominee with Currentbody's LED Neck and Dec Perfector red light mask. The news of rule and regulation changes also comes with another reminder after the 2025 Oscars date announcement to submit a RAISE form proving one’s film has met at least two out of four of the Academy’s inclusion standards in order to be eligible for Best Picture.
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