ADG AWARDS

FANTASY FILM

Blade Runner 2049 (1)

Production Warner Bros.
PD Dennis Gassner

In 1982, when the original “Blade

Runner” was released, I wasn’t
working in the film industry. But I
found myself transfixed by its fu-
turistic world, and that film be-
came one of the main reasons I
pursued a career as a production
designer. Cut to 2017 and “Blade
Runner 2049.” Thirty-five years
later I find myself transfixed, yet
again, but this time the look is in
the extremely capable hands of
Oscar winner Gassner. The re-
spect and care Gassner showed
for this film is evident in every
frame. This new world is one of
brutal architecture amidst a vi-
sion of decay, harking back to
the original but with a new take
on its featured cities of Los An-
geles, Las Vegas and San Diego.
It’s not easy for a sequel to main-
tain the aesthetic of the original.
But in the case of “Blade Run-
ner 2049,” Gassner has created a
stand-alone masterpiece of de-
sign. It is a delight for the senses.

Written by Denny Dugally,

production designer on
“Gilmore Girls: A Year in the
Life” and “Agent X.”

CONTEMPORARY FILM

Downsizing (2)
Production Paramount
PD Stefania Cella

I made it a point to see “Down-

sizing” in the theater. I was cu-
rious to see how a film about
small people would work on
the big screen. Mainly, I want-
ed to see how production de-
signer Stefania Cella would play
with a core organizing princi-
ple for all designers: scale. Scale
and proportion, when utilized in-
correctly, can immediately dis-
rupt the viewer’s relationship
with the world being present-
ed, thus making that world lose
authenticity. In this case, both
worlds, big and small, exist in a
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contemporary, modern frame-

work still recognizable to an au-
dience. Because the “downsized”
world is not some sci-fi world
of the future, Cella had to use
JANUARY 24, 2018

scale adeptly to make the down-

sized characters feel truly small
compared to “normal” surround-
ings. From the large scale models
Tipsheet
What: ADG Awards
that had to be built, to the forced When: Jan. 27
point perspective that she had to Where: Ray Dolby Ballroom,
be aware of throughout the sto- Hollywood
68 ry, Cella has done a masterful job Web: adg.org
in supporting the story through
her design.
Written by James Pearse
Connelly, production designer
on “Bill Nye Saves the World”
and “The Voice.”
ANIMATED FEATURE FILM
Coco (3)
Production Disney/Pixar
PD Harley Jessup
Animation for too long has been
relegated to the kids’ table of
most awards programs. In par-
ticular, our voting communities
have not encouraged its consid-
eration for the best picture, pro-
duction design and screenwrit-
ing categories so that it might
transcend its origins as the car-
toon before the feature. But this
year, by recognizing produc-
tion design in animation as be-
ing equal to all other genres that
it celebrates, the Art Directors
Guild has taken its first step. No
work of animation has ever been
successful without the contri-
butions of a superior screen-
play, performances and realiza-
tion. “Coco” is blessed with all of
these, so it is most fitting that it
is among the five excellent final-
ists that the ADG is honoring at
its program. “Coco’s” award-win-
ning production designer Harley
Jessup is a veteran of “Ratatouil-
le,” “Monster’s Inc.” and “Cars 2.”
For “Coco,” he and his immense-
ly talented colleagues at Pixar
have taken us to a very magical
place — one blessed with great
achievement and artistry, rich
in emotion, textures, colors and
imagination. The depth, com-
plexity and details in the origi-
nal tale, which honors and cele-
brates family, love, aspiration and
legacy, are masterful.
Written by Tom Walsh, produc-
tion designer on “Longmire”
and “The Client List.”
ONE-HOUR SINGLE-CAMERA
PERIOD OR FANTASY SERIES
The Crown (4)
Episodes “A Company of Men,”
“Beryl,” “Dear Mrs. Kennedy”
PD Martin Childs
Imagine being challenged to
design over 300 new sets, all
of them period, for a long-form
TV series. This is the task that
Childs has performed exquisitely
for season two of “The Crown.”
For such design undertakings,
Childs relies on his vast research
library, often selecting an image
that seemingly has no correlation
with the design at hand, but its
composition inspires a direction
not originally thought of. For its
second season, the story entered
the new cultural landscape of the
1960s. Childs sought to express
the dichotomy of the formality
and symmetry of earlier design
versus disposable modern
conveniences of the ’60s. As a
subtle color palette can leave the
audience bewildered as to where
they are, Childs’ use of rich red,
when Princess Margaret first
meets Tony, or a jealous green
for the MacMillans, supports the
story without being overly broad.
Written by Dawn Snyder, pro-
duction designer on “Imaginary
Mary” and “Rush Hour.”
ONE-HOUR CONTEMPORARY
SINGLE-CAMERA SERIES
The Handmaid’s Tale (5)
Episodes “Pilot, Offred,” “Birth Day,”
“Nolite Te Bastardes Carborundorum”
PD Julie Berghoff
I had to brace myself to watch
“The Handmaid’s Tale,” de-
signed by Berghoff. In today’s
world, it promised to be more
prescient than fictional. From
the first frame, Berghoff’s dysto-
pian design was a sucker punch,
hooking me instantly. Gilead,
the fictional world of the “Hand-
maid,” does not readily betray
time and place. The architec-
ture is traditional; the design
speaks of power and wealth but
is not beautiful. It is grimy and
dark. There is a claustropho-
bic feeling that Berghoff creates
by the omnipresence of mili-
tary fortifications. The de-satu-
rated palette enhances a sense
of dread. Private homes are lush
but gloomy. Public institutions
in contrast are stark and blin-
dingly white. When you do see
vivid color, like the deep red of
the costumes and the orang-
es in the bland supermarket, it
augments the narrative. Ber-
ghoff imbues these moments
with great beauty, which height-
ens the horror and sadness of
the story.
Written by Cat Smith, produc-
tion designer on “Transparent”
and “I Love Dick.”
TELEVISION MOVIE
OR LIMITED SERIES
Black Mirror (6)
Episode “USS Callister”
PD Joel Collins & Phil Sims
Collins and Sims masterfully ren-
der two disparate worlds in →
AWARDS CATEGORY
RECOGNIZES TOONS
Art Directors Guild celebrates 100 years
of animation with new trophy: Excellence
in Production Design in Animation
By NELSON COATES
W hat makes film,
television, cable,
commercial or
internet projects unique
is the visual styles and
choices that propel their
narratives forward. As
great design is created
across these varied deliv-
ery platforms, each sto-
rytelling opportunity
requires unique tools and
skills. But whether applied
to contemporary, period,
fantasy, science fiction, live
action or animation, the
requirements for excellent
visuals remain the same:
strong concepts and exe-
cution of sets, props, cos-
tumes, hair, makeup, char-
acter study and backstory,
color palette, visual and
physical effects — among
other design aspects.
For the 22nd Art Direc-
tors Guild Awards for
Excellence in Production
Design, the guild is creat-
ing a new award category
recognizing a long-estab-
lished design medium: fea-
ture animation.
Since the beginning of
cinema, concepts and sto-
ries have delighted and
amazed audiences through
the creations of visionary
animators and designers.
As narrative animation
has become more sophisti-
Holy Recognition at Last!
“The Lego Batman Movie” is one
of five films nominated in ADG’s
new animation category.
cated, as the bar continues
to be raised in animated
narrative design, and as
the number of animated
features released each
year — not to mention
the growth of animated
content on television and
streaming services — con-
tinues to rise, so has the
involvement of produc-
tion designers grown in
creating and guiding envi-
ronments and overall
concepts.
That’s why the Art
Directors Guild felt the
need to recognize this
high standard of achieve-
ment with its own award
category. We continue to
seek out and encourage
excellence in all aspects
of visual storytelling and
are thrilled to add this cat-
VARIETY.COM
egory to this and future
years of ADG awards cele-
brations.
The writer is president of the
JANUARY 24, 2018
Art Directors Guild. His credits
include “Secret in Their Eyes,”
“Fifty Shades Darker,” “Fifty
Shades Freed” and the upcom-
ing “Crazy Rich Asians.”
69
 ADG AWARDS

BEST OF THE BEST: THE ← this episode of “Black Mirror”

that is equal parts futuristic tech
horror and retro space spoof. In

COMPLETE LIST OF ADG

the virtual world, we board the
USS Callister, a candy-colored
starship programmed by Rob-
ONE-HOUR MULTI-CAMERA SERIES ert Daly to be a facsimile from

2018 NOMINATIONS CONTEMPORARY

SINGLE-CAMERA SERIES
American Gods (“The Bone
Orchard,” “The Secret of
9JKL (“Pilot,” “Lovers Get-
away,” “Set Visit”)
• Stephan Olson
The Big Bang Theory
his beloved series “Star Fleet,” a
stand-in for “Star Trek.” The de-
sign team cleverly pays hom-

V ariety staffers picked from a veritable cornuco-

pia of outstanding production design and art
direction when they singled out 11 shows for
evaluation by ADG members. Editors involved in the
selection: Andrew Barker, Debra Birnbaum, Peter Cara-
Spoons,” “Head Full of Snow”)
• Patti Podesta
The Handmaid’s Tale (“Pilot,
Offred,” “Birth Day,” “Nolite Te
Bastardes Carborundorum”)
• Julie Berghoff
nicas, Peter Debruge, Steven Gaydos, Owen Gleiberman, The Handmaid’s Tale
Tim Gray, Cynthia Littleton, Guy Lodge, Joseph Otter- (“The Bridge”)
• Andrew Stearn
son, Jenelle Riley, Sonia Saraiya, Malina Saval, Kristo- Mr. Robot (“eps3.0_pow-
pher Tapley and Danielle Turchiano. Here’s the full list er-saver-mode.h,” “eps3.1_
of content vying for ADG honors this year. undo.gz,” “eps3.2_legacy.so”)
• Anastasia White
Twin Peaks (“Ep. 1: Part 1,”
EXCELLENCE IN Three Billboards Outside
PRODUCTION DESIGN “Ep. 8: Part 8,” “Ep. 15: Part 15”)
Ebbing, Missouri
FOR A FEATURE FILM • Ruth De Jong
• Inbal Weinberg
(“The Romance Recalibration,”
“The Separation Agitation,”
“The Explosion Implosion”)
• John Shaffner
The Ranch (“My Best Friend,”
“Last Dollar (Fly Away),”
“Wrapped Up in You”)
• John Shaffner
Superior Donuts
(“Pilot,” “Crime Time,”
“Arthur’s Day Off”
• Stephan Olson
Will & Grace
(“Eleven Years Later,”
“A Gay Olde Christmas”)
• Glenda Rovello
age to the classic sci-fi Westerns
while heightening anachronis-
tic elements to deconstruct the
genre’s sexist trappings. Back in
Daly’s “real” world, the Callister
headquarters and his apartment
pale in comparison, literally, with
muted tones and harsh fluores-
cents. No wonder he retreats into
the fantastical past where he can
play God, turning this fanboys
playground into something more
of an existential nightmare for
its unwilling inhabitants. When
time’s up for Daly, the ship re-
boots to a sleeker unisex design,
complete with lens flares. The fu-
ture looks bright, indeed.

Written by Raf Lydon,

PERIOD FILM ANIMATED FILM TELEVISION MOVIE SHORT FORMAT: production designer on “Full
Darkest Hour Cars 3 OR LIMITED SERIES WEB SERIES, MUSIC VIDEO Metal Jousting” and “The
• Sarah Greenwood • William Cone, American Horror OR COMMERCIAL
Apple
Biggest Loser.”
Dunkirk Jay Shuster Story: Cult (“Election Night,”
• Nathan Crowley Coco “Winter of Our Discontent”) (“Bulbs”)
Murder on the • Harley Jessup • Jeff Mossa • James Chinlund HALF HOUR
Orient Express Despicable Me 3 Big Little Lies (“Somebody’s Chanel SINGLE-CAMERA SERIES
• Jim Clay • Olivier Adam Dead,” “Living the Dream,” (“Gabrielle”)
The Post
• Rick Carter
The Lego Batman Movie
• Grant Freckelton
“You Get What You Need”)
• John Paino
• Shane Valentino
Katy Perry (“Bon Appétit”)
GLOW (1)
The Shape of Water Loving Vincent Black Mirror (“USS Callister”) • Natalie Groce Episodes “Pilot,” “The Wrath of Kuntar,”
“The Dusty Spur”
• Paul Denham Austerberry • Matthew Button • Joel Collins, Phil Sims Nike (“Equality”)
Fargo (“The Narrow Escape • Ruth De Jong PD Todd Fjelsted
Problem,” “The Law of Star Wars Battlefront II
EXCELLENCE IN (“Rivalry / Ps4”) In episodes of “GLOW,” a se-
Inevitability,” “Who Rules
PRODUCTION DESIGN • Jason Edmonds ries set in 1985 about a group
FOR TELEVISION the Land of Denial?”)
• Elisabeth Williams of female wrestlers, Todd takes
Feud: Bette and Joan us seamlessly and beautiful-
(“Pilot,” “And the Winner Is…,” ly through the story by way of
“You Mean All This Time We
Could Have Been Friends?”)
his nostalgic designs: from the
FANTASY FILM
Beauty and the Beast • Judy Becker opening scene in director Sam
• Sarah Greenwood Sylvia’s house, to the GLOW
Blade Runner 2049 training gym, to a party in the
• Dennis Gassner ONE-HOUR PERIOD Malibu mansion of GLOW’s pro-
VARIETY OR COMPETITION
Star Wars: The Last Jedi OR FANTASY SINGLE- SERIES/AWARDS ducer Bash culminating with the
• Rick Heinrichs CAMERA SERIES OR EVENT SPECIAL
War for the Planet in-house filmed promos of the
A Series of Unfortunate Bill Nye Saves the World
of the Apes Events (“The Bad Beginning: (“Earth Is a Hot Mess”) wrestling ladies. The notable
• James Chinlund Part One,” “The Reptile • James Pearse Connelly highlights that Todd has incor-
Wonder Woman Room: Part One,” “The Wide HALF HOUR Golden Globe Awards: porated throughout include a ro-
• Aline Bonetto Window: Part One”) SINGLE-CAMERA SERIES (“74th Annual”) bot that dispenses drugs, a room
• Bo Welch Future Man • Brian Stonestreet
The Crown (“Pandora’s Mailbox,” Portlandia
full of vintage video games of the
(“A Company of Men,” “Beyond the Truffledome,” “A (“Portland Secedes,”
“Beryl,” “Dear Mrs. Kennedy”) Date With Destiny”) “Ants,” “Fred’s Cell
VARIETY.COM

• Martin Childs • Jessica Kender Phone Company”)

Game of Thrones Glow (“Pilot,” “The Wrath of • Schuyler Telleen
(“Dragonstone,” “The Queen’s Kuntar,” “The Dusty Spur”) Saturday Night Live
Justice,” “Eastwatch”) • Todd Fjelsted (“Aziz Ansari + Big Sean,”
CONTEMPORARY FILM • Deborah Riley Master of None “Alec Baldwin + Ed Sheeran,”
Downsizing Mindhunter (“Le Nozze,” “Thanksgiving,” “Larry David + Miley Cyrus”)
• Stefania Cella (“S1:E1,” “S1:E4,” “S1:E9”) “Amarsi Un Po”) • Keith Ian Raywood,
JANUARY 24, 2018

Get Out
• Rusty Smith
• Steve Arnold
Stranger Things (“Chapter
• Amy Williams
Silicon Valley(“Hooli-Con,”
Eugene Lee,
Akira Yoshimura, I had to brace myself to
Lady Bird
• Chris Jones
Six: The Spy,” “Chapter Eight:
The Mind Flayer,” “Chapter
“Server Error”)
• Richard Toyon
N. Joseph Detullio
Super Bowl Halftime Show watch ‘The Handmaid’s
Logan
• François Audouy
Nine: The Gate”)
• Chris Trujillo
Veep (“Omaha”)
• Jim Gloster
(“Starring Lady Gaga”)
• Bruce Rodgers Tale.’ The design was a
sucker punch.”
70 Cat Smith
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