APPROACH:

 I look at the character of the protagonist, to examine the story, message, and intent…

 …and questions arise.

 What can design further reinforce and support the storyline?  What visuals and details can I supply that support the actor and the message? 

 Research is a core part of my process. I present to the director a slew of visual inputs of art, photos, color, texture, lighting… ideas.  Not to overwhelm, but about giving a visual context, support, and inspiration. A lovely, creative way to start the conversation.

 I have collected a library of art and visual reference and amassed walls of samples, reference files, and over 8,000 books on art, architecture, and photography. Using the internet is efficient, although sometimes on-line reference is a bit homogenized and may not be curated.  All are great tools and when used collectively, visual gems can be found.

 From the references and discussions, the designs and drawings are created.   It’s an exciting time creating moments with details, surfaces, colors, textures, line, and visual rhythms, to be articulated on paper or digitally with renderings.  From those renderings a plan is made.  Once approval is given, off we go!   This is true for either location work or set fabrication… the drawings are the visual plan.

The beauty of my studio is the scope of work and depth of resources. Working with my team, we produce a multitude of samples of finishes, paint, LED lighting, white models of sets, aging, plaster, cement, floor finishes, high gloss automotive.  DETAILS MATTER.  We have exacting creative conversations with other members of the team reviewing set dressing, props, construction, and effects.  Always with a critical eye towards the design plan and how those elements support storyline, design, and character.  This is all compiled for presentation to director, clients, and agency. We all need to be in sync, sometime there is something that needs to be tuned, we are always prepared to quickly adjust. It’s just the nature of what we do, being collaborative and flexible is part of the dance.

Not all projects call for this, some are just location dressing, some require a small build or some architectural “plus”.  In the end they all require a plan.

Inevitably, the plan and design have budget considerations.  That is a huge part of the process and something I’m proud to say “I’m good with and have a great track record of meeting”.  I work with producers “shoulder to shoulder”, sorting out how we are going to accomplish the visual goals.  Budgets and solutions must be equally ambitious, collaborative, and creative.

Looking forward to working together, with a pencil in hand and a calculator in the other, the cell phone is always on…

 Michael