95th Oscars: Best Production Design Nominee Spotlight
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Free from the prejudices of her times, Bella grows steadfast in her purpose to stand for equality and liberation. Other nominees in the category included Bradley Cooper for "Maestro," Colman Domingo for "Rustin," Paul Giamatti for "The Holdovers" and Jeffrey Wright for "American Fiction." "We made a film about the man who created the atomic bomb and, for better or for worse, we're all living in Oppenheimer's world, so I would really like to dedicate this to peacemakers everywhere."
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Spartacus features some of the best production design of any “sword-and-sandal” film. That may not sound like glowing praise, but it absolutely is considering how great the production design was in similar films like Son of Samson, Ben-Hur, and Gladiator. “Poor Things” prevailed over “Barbie” in the fantasy production design category at the 28th Art Directors Guild Awards and is now in the driver’s seat to win the Oscar. Throughout the season, it has been a race between these two big feminist films constructed around rebirth and unconventional world-building. Variety's unmatched coverage gives its readership unbeatable exposure in print and online and provides inside reports on all the contenders in this year's awards season races.
Oscars Predictions:Best Achievement in Production Design
Fortunately, like all the craft departments, Fisk worked closely with Osage artisans and craftspeople. So much of the original town of Fairfax had been modernized or run down, and the film required vast open expanses. In Yargos Lanthimos’ twisted “Frankenstein” gender-bender, “Poor Things,” Bella (Best Actress nominee Emma Stone) is reanimated from the dead with the brain of her unborn child by unconventional scientist Baxter (Willem Dafoe). This results in a strange transformation, with production designers Shona Heath and James Price constructing a bizarre retro-future world from scratch for her adventures and sexploits as an iconoclastic Victorian. With a nod to the surreal style of Michael Powell & Emeric Pressburger (“Black Narcissus”), they used painted backdrops, rear screen projection, and LED screens for the cruise ship sea and sky.
Winners and nominees
I’ll be looking at the circumstances of each film and how they are built, as well as how intricate their designs are. Keep in mind that these rankings are separated by molecules, because any of these films would actually win in other years. While the biggest change is the expansion of the theatrical requirements for Best Picture, there are other highlights of note. That includes animated feature films submitted for Best International Feature Film now being able to also submit for Best Animated Feature Film if eligibility requirements outlined for both categories are met.
What started out as unknown territory to production designer Sarah Greenwood and set decorator Katie Spencer (who have seven Oscar nominations between them and are more at home with period pieces such as “Atonement”) became the most surreal experience of their careers. They started with a representation of Barbie Dreamhouse playhouses (with all the necessary toy-like props) set against the modernist backdrop of mid-century Palm Springs. Then they embraced an old-school, in-camera, practical method of set building, only in miniature. They reduced the scale by 23 percent to make Margo Robbie’s Barbie, Ryan Gosling’s Ken (Best Supporting Actor nominee), and the other actors look bigger. What they didn’t count on was causing a global shortage of fluorescent pink paint, but Mattel scrambled to get what they needed.
The last best picture nominee to solely win the production design prize was Warren Beatty and Buck Henry’s “Heaven Can Wait” (1978). Since then, there have been instances where awards prognosticators predicted a victory only to witness a different outcome. The films below are listed with their production year (for example, the 2000 Academy Award for Best Art Direction is given to a film from 1999). In the lists below, the winner of the award for each year is shown first, followed by the other nominees in alphabetical order. With side-swept beachy waves done by Adir Abergel using Virtue Labs products and cat-eyes complemented by neutral lips created by makeup artist Jillian Dempsey using. With a silver crop and dusty rose lips plus glowing skin created by makeup artist Joanna Simkin using Beautyblender Bounce Magic Fit Creamy Bronzer & Highlighter Duo.
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"I think any of us who make movies know that you kind of dream of this moment," producer Emma Thomas said. "I could deny it, but I have been dreaming about this moment for so long, but it seemed so unlikely that it would ever actually happen, and now I'm standing here and everything's kind of gone out of my head." The big “miniatures” in The Return of the King are so finely detailed that they’re near indistinguishable from real sets. Art director John Box won his second Oscar for Best Production Design for Doctor Zhivago; his first win was for another David Lean collaboration – Lawrence of Arabia. Tavoularis, Graham and Nelson would go on to work with Ford Coppola again for Apocalypse Now – and the trio received an Academy Award nomination for Best Production Design for their work.
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Much of that has to do with the striking and unique look of the film, which marks the first Oscar nomination for all three of the artisans nominated in this category. What some may not realize is that this was the first time that the film’s two production designers, James Price and Shona Heath, ever worked together, but the work they’ve done is undeniable. Similarly, Hungarian set decorator Zsuzsa Mihalek populated the locations with many quirky items that greatly enhance the film’s overall look. Greenwood is the most nominated production designer in this category without a win. Her nomination for “Barbie” brings her to seven, and like the film’s costume designer, Jacqueline Durran, most of her work with director Joe Wright has garnered her Oscar nominations. Greta Gerwig’s “Barbie” offers wondrous eye candy, built around Barbie Land as a feminist utopia.
Other nominees in the best director category at the 2024 Oscars included Justine Triet for "Anatomy of a Fall," Martin Scorsese for "Killers of the Flower Moon," Yorgos Lanthimos for "Poor Things" and Jonathan Glazer for "The Zone of Interest." He also thanked all the cast members including Matt Damon, Robert Downey Jr., Emily Blunt, Florence Pugh and Cillian Murphy, as well as his wife, "the incredible Emma Thomas … producer of all our films, and all our children. I love you." In the lead acting categories, "Poor Things" star Emma Stone took home the award for best actress while "Oppenheimer" star Cillian Murphy took home best actor. "Oppenheimer" earned seven Oscars from its 13 total nominations, including the top prize of the night, best picture, as well as best director for Christopher Nolan. I went back and forth between putting Once Upon a Time in Hollywood and La La Land here – both are stylistic renderings of Los Angeles and both feature some excellent production design – but I decided to go with the latter because of its brilliant use of color. Perhaps it’s unfair to praise the production design in The Last Emperor too feverishly considering that some of the film was shot in The Forbidden City in Beijing, China – which would admittedly be hard to make look not magnificent.
There’s also a new eligibility period for the Best International Feature Film — November 1, 2023, to September 30, 2024 — and Best Original Score now allowing three composers to receive individual statuettes if, in rare circumstances, they all contributed fully to the score. Plus, the screenplay categories now require a final shooting script to be part of submissions and a handful of overall name changes and/or clarifications for some of the awards The Academy hands out at the separate Governors Awards and Scientific and Technical Awards ceremonies. With “Killers of the Flower Moon,” legendary production designer Jack Fisk worked for the first time with director Martin Scorsese. A specialist at constructing outdoor sets, Fisk (a three-time Oscar nominee) grounded the 1920s fact-based Oklahoma crime drama about the serial murders of Osage Indians on the topographical and architectural reality of their oil-rich territory. But telling the story on Osage land, either by repurposing existing structures or building them from scratch, was challenging.
Light wells are more prevalent than windows, and the buildings are quite angular to allow the 750-kilometer-per-hour sandstorms to roll right off of them. The result is striking, and calls to mind WW II bunkers, Mesopotamian ziggurats, Egyptian and Aztec pyramids, brutalist architecture, and even the Italian 1960s and ’70s design collective Superstudio. The film is nominated for 11 Oscars tonight, including best picture, best actress for Stone, director for Lanthimos and supporting actor for Mark Ruffalo.
The prize, along with seven other awards including three short film categories and best score, editing, makeup and hairstyling, and sound, was announced during a preshow created this year in an effort to trim down the main show. The move was widely criticized, with the Set Decorators Society of America even sending an open letter to the Academy back in February. The Grand Budapest Hotel is one of the most visually splendorous films of the 21st century – so it shouldn’t come as a surprise that Adam Stockhausen and Anna Pinnock were honored by the Academy for their work on the film’s production design.
Oscar winner Rick Carter (“Lincoln,” “Avatar”) recreated Steven Spielberg’s childhood for his semi-autobiographical “The Fabelmans.” He cracked “the Spielberg code” of recurring themes and motifs from his movies, turning this into a classic migration tale. The three Fabelman houses in New Jersey, Arizona, and Northern California became chambers of Sammy’s (Gabriel LaBelle) psychological development, based on Spielberg’s memories and photo reference material from his family archives. For Chazelle’s wild wide through Hollywood’s Roaring ’20s, Martin (“Blonde,” “Licorice Pizza”) and the art department highlighted the parallels between the formation of L.A. The team of 150 craftspeople created a world of lavish, jewel-toned fabricated environments set against the hot, barren, and inhospitable desert of early L.A.
They scouted throughout Southern California for period-accurate locations and designed sets showcasing the era’s popular revival style architecture — Mission, Gothic, Spanish, and Tudor. For each character, the architectural style represents a manifestation of the world they want to be in. For Dune, which is set on fictional planets in the year 10,191, was mostly filmed at Origo Studios in Budapest and was mostly built on sound stages despite the futuristic look viewers might think is all special effects. “Denis’s approach is always to have sets that are as immersive as possible,” Vermette told AD back in October. Most of the action takes place on planet Arrakis, where the sets consisted of large, partially underground palaces made of thick stone.
The ADG Awards honor excellence in production design in theatrical motion pictures, television, commercials, music videos and animated feature films. Good production design can be the difference between a great film and an average film – a point proven by comparing The Lord of the Rings and The Hobbit movies; the former have excellent production design, while the latter struggle to build a world that’s either immersive or realistic. Check out this next video to see how Peter Jackson and the production designers used miniatures to expert effect in Return of the King. Ridley Scott’s “Napoleon” biopic benefits from the elaborate period world-building of go-to production designer Arthur Max (a four-time Oscar nominee). It’s about the rapid rise to power of Napoleon Bonaparte (Phoenix) from military leader to Emperor and his obsession with Empress Joséphine (Vanessa Kirby). Max and his team recreate six major battles (including Austerlitz with horses falling through the ice and, of course, Waterloo), each with its own distinctive geometric patterns.
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