Film & Television work
fiLM - Answer This!
Art Director, "Answer This" - Ann Arbor, Michigan
Starring: Christopher Gorham, Arielle Kebbel, Nelson Franklin, Evan Jones, Kip Pardue, Kali Hawk, Chris Parnell
In collaboration with Cinematographer Christian Sprenger, and Production Designer Alexi Gomez, my role as Art Director for the comedy film "Answer This," filmed on the iconic campus of Michigan State University in Ann Arbor, presented a distinct set of creative opportunities and challenges. In this capacity, my responsibilities encompassed a broad spectrum of duties tailored to the film's comedic tone and setting. Key aspects of my role included:
Campus Integration: Seamlessly integrated the film's set designs within the vibrant and historic campus of Michigan State University, ensuring that each location was not only aesthetically pleasing but also conducive to the comedic narrative of the film.
Thematic Design Elements: Developed and implemented thematic design elements that enhanced the film's humor and character dynamics, paying close attention to details that would resonate with audiences and contribute to the overall comedic experience.
Collaborative Creativity: Worked closely with the production team and director to ensure that the visual style supported the film's comedic tone, facilitating an environment where visual cues and set designs contributed effectively to the humor and storytelling.
Adaptive Problem-Solving: Addressed the logistical challenges of filming on a university campus, navigating scheduling conflicts, and adhering to university guidelines while maintaining the creative vision of the project.
My role in "Answer This" allowed for creative exploration within the comedic genre, leveraging the unique backdrop of Michigan State University in Ann Arbor to bring the film's humor and narrative to life through thoughtful art direction and design.
fiLM - The Forgotten King
Art Director, "The Forgotten King" - Tbilisi, Georgia - 2010
In collaboration with Production Designer Alessandro Marvelli, my role as Art Director for "The Forgotten King" involved a unique set of challenges and responsibilities, emphasizing creativity, precision, and innovative problem-solving. Key contributions and challenges included:
Execution of Visual Style: Faithfully executed Alessandro Marvelli's creative vision, translating detailed conceptual designs into tangible set pieces and environments.
Overcoming Language Barriers: Worked through the complexities of international communication in Tbilisi, Georgia, using a translator to bridge gaps between the art department and local crews, ensuring smooth workflow and task execution.
Complex Set Construction: Led the ambitious construction of a set designed for a continuous single-take shot, incorporating intricate features such as trap doors, multi-level structures, and a functioning elevator to enable seamless Steadicam operation.
Creative Problem-Solving: Addressed creative and logistical challenges head-on, adapting strategies to meet the artistic requirements of the project while accommodating the technical demands of a unique filming approach.
Through these endeavors, the project not only met its ambitious artistic and technical goals but also pushed the boundaries of conventional filmmaking, demonstrating the impact of collaborative innovation and adaptive leadership in the art department.
fiLM - The Domino Effect
Set Decorator, "The Domino Effect" - Various Locations Worldwide
Starring: Theo James, Harriet Walter, Tiya Sircar, James D’Arcy
In collaboration with Director Paula van der Oest, and Art Director Connie Shea, my role as Set Decorator for the film "The Domino Effect," filmed globally, presented a distinct set of creative opportunities and challenges. In my capacity as Set Decorator, specifically within the Michigan crew, I was tasked with capturing the film's dark, reflective tone, which explores the far-reaching consequences of a single event on a global scale. This role required a blend of creativity and precision, as it presented a canvas as vast and varied as the film's diverse settings. The challenge lay in creating visually cohesive yet distinct environments that not only aligned with the narrative's progression and thematic depth but also highlighted the intricate, interwoven narratives of cause and effect that define the film's core.
Collaborating closely with Director Paula van der Oest and Art Director Connie Shea, my responsibilities extended to sourcing and curating set pieces that complemented each location's aesthetic, thereby enriching the storytelling. This task demanded a keen eye for detail and an adeptness in ensuring each set piece not only fit its immediate setting but also contributed to the overarching visual narrative, providing depth and authenticity across the film's various backdrops. Through this experience, the importance of adaptability, collaboration, and a strong creative vision became increasingly clear, proving essential in bringing the interconnected stories and thematic nuances of "The Domino Effect" to life.
TeleVision- Miracle Workers
Portrait Painter, "Miracle Workers" - Los Angeles
Starring: Daniel Radcliffe, Steve Buscemi, Geraldine Viswanathan, Karan Soni, Jon Bass
In collaboration with Art Director Marissa Leguizamon, I was commissioned to paint Steve Buscemi as God for the television series"Miracle Workers." I was given the unique task of capturing Steve Buscemi's portrayal of God—not as the omnipotent figure traditionally depicted in art and scripture but as an 'average Joe.' This portrayal was infused with irony, depicting God in a cliché business-style portrait, complete with books in the background to underscore the comedic twist that, despite being surrounded by literature, he is illiterate.
The inspiration behind this project was rooted deeply in the show's comedic take on divinity, adapted from a book where God is portrayed in a light-hearted, relatable manner. Tasked with painting God (Steve Buscemi) in this unconventional light, I relied on my creativity and a series of high-resolution photographs of Buscemi to piece together the desired portrait. This process involved a careful selection of images and a photoshopped version provided by the production team as my guide.
The timeline was tight, with only three weeks from commission to delivery. Factoring in a week-long break for Thanksgiving, I effectively had just two weeks to complete the painting and prepare it for shipment from Los Angeles to Georgia. To meet these demands, I constructed a custom-sized frame, stretched the canvas myself, and employed a mapping technique to ensure fidelity to the photoshopped guide without major abnormalities.
The portrait plays a significant role in the first episode of "Miracle Workers," contributing significantly to the comedic atmosphere of the series. Its presence not only underscores the show's humorous take on celestial matters but also highlights the intricate blend of comedy and artistry. Originally aired on TBS and now available on HBO Max, the show—and by extension, the portrait—has reached a wide audience, serving as a testament to the impactful collaboration between art and television comedy.
Other notable film and television projects
