The Art Directors Guild
15th AnnualExcellence in
Production Design Awards
February 5, 2011
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15th Annual AwardsFor Excellence in Production Design
February 5, 20115:00pm COCKTAIL RECEPTION
6:30pm DINNERFeaturing music by Johnny Crawford and his Orchestra
7:30pm AWARDS PROGRAMHosted by Paula PoundstoneScenic Design by Scott Enge
Co-Produced by Dawn Snyder and Thomas Wilkins
Welcome by Thomas Walsh, President Art Directors Guild
“The Art of the Art Department”
Excellence in Production Design for an Episode of Multi-Camera, Variety, or Unscripted Television Series
Excellence in Production Design for an Episode of a One Hour Single Camera Television Series
Excellence in Production Design for an Episode of a Half Hour Single Camera Television Series
Inductees to the Art Directors Guild Hall of Fame Alexander Golitzen Albert Heschong Eugene Lourie Presented by Norm Newberry
Excellence in Production Design for an Awards, Music or Game Show
Excellence in Production Design for a Commercial or Music Video
Lifetime Achievement Award Patricia Norris Presented by David Lynch
Excellence in Production Design for a Television Movie or Mini-Series
Outstanding Contribution to Cinematic Imagery Award Syd Dutton and Bill Taylor Presented by Robert Stromberg
Excellence in Production Design for a Contemporary Feature Film
Excellence in Production Design for a Fantasy Feature Film
Excellence in Production Design for a Period Feature Film
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Thomas A. Walsh, President and Chairman
Art Directors Guild
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On behalf of the Board of Directors and the Council of the Art Directors Guild it gives me great pleasure to welcome you to this our 15th Annual Excellence in Production Design Awards Program. This annual tradition brings together an extraordinary assembly of designers, all of who are leaders in the art of narrative design for the moving image.
Since 1924, the year of our organization’s first formation as the Cinemagundi Club, our Guild has evolved and continues to grow both as a professional society as well as a union of unique individuals. Within the body of this program we wish to pay tribute not only to this year’s nominees, but to all of those who practice our profession with creativity, integrity and artistry.
Designs on Film and The Art of the Art Department are our themes for tonight’s celebration one that is intended to honor all of the designers and visual artists who contribute their many talents to the filmed narrative. The Art Department is very dependent on a core group of talented individuals who all must work in close collaboration towards a common purpose. Both through tonight’s program and through the release of Cathy Whitlock’s marvelous new book, Designs on Film, published by Harper Collins, the Guild endeavors to bring further clarity and public recognition to the many talented artists and craftspeople that collectively are the Art Department.
Tonight it is highly appropriate that we celebrate two of our industries finest master-wizards and purveyors of the art of smoke and mirrors; visual effects artists Syd Dutton and Bill Taylor, by honoring them and the legacy of their company Illusion Arts with our Outstanding Contribution to Cinematic Imagery Award. Their achievements as innovators, practitioners and mentors to so many visual effects artists, designers and filmmakers have immeasurably enriched the pursuits of all those who were fortunate enough to be guided by these gifted gentlemen/artists so that they could see their aspirations become realities.
The ADG is most honored to extend its Lifetime Achievement Award to production and costume designer, Patricia Norris. By celebrating Patricia’s life and career the Guild reaffirms the hopes of every young designer regardless of their background or gender, encouraging them to pursue their dreams and overcome the status quo in the pursuit of their creative aspirations.
This year’s Art Directors Guild Hall of Fame inductees were all extraordinary master designers. Alexander Golitzen, Eugene Lourie and Albert Heschong, have all left a legacy that continues to inspire all those who have chosen Art Direction as their profession, so it is most appropriate that we honor their memory tonight through their induction into this unique assembly of master designers.
The ADG is proud to represent so many accomplished practitioners. Our members continue to provide the creative leadership, imagination and skill-sets that allow a good story to be well imagined and realized!
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Tonight we celebrate the astounding artistry of the nominees for the various Excellence in Production Design Awards, now, annually, for the fifteenth time.
Additionally, we salute and honor our Llifetime Achievement honoree, Patricia Norris, for an astounding body of work; Syd Dutton and Bill Taylor, the recipients of this year’s Outstanding Contribution to Cinematic Imagery; and our latest inductees into the Guild’s Hall of Fame: Alexander Golitzen, Albert Heschong and Eugene Lourie.
But beyond these celebrations, we also recognize, honor and celebrate every one of the nearly 2000 members of the Art Directors Guild, IATSE Local 800, each of whom qualified for membership in the most prestigious labor union in the world devoted solely to the core Art Department crafts of Art Direction, Set Design, Illustration and Scenic and Graphic Art.
Also worth recognizing is the fact that these crafts just a few years ago operated as four separate labor unions. We now, and since 2008, are one union. It was a long time coming and took no little amount of effort to get there. But the greater communication and understanding among the four crafts now housed under one roof will redound to their, and the industry’s, benefit for years to come.
Scott RothExecutive Director Art Directors Guild
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UNITED TALENT AGENCyWARNER BROS. PICTURES
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FOX STUDIOS PRODUCTION SERVICESPARAMOUNT PICTURES UNIVERSAL PICTURESUNIVERSAL STUDIOS –
PROPERTy, DRAPERy, SIGN, STAGE AND MOULDING SHOPS
Silver SponSorSASTEK INC./ON AIR DESIGN
DAzIAN FABRICSHOME BOX OFFICE
MONTANA ARTISTS AGENCyWARNER BROS STUDIO FACILITIES
WME – DEVIN MANN, JASAN PAGNI, STACEy KARP AND SHARI SHANKEWITz
meDia SponSorS
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SATURDAY NIGHT LIVE: “BETTY WHITE/JAY Z”
PRODUCTION DESIGNERS KEITH IAN RAyWOODEUGENE LEE • AKIRA yOSHIMURAN. JOSEPH DETULLIO
SCENIC ARTISTS MARK RUDOLFHALINA MARKI
HOW I MET YOUR MOTHER: “NATURAL HISTORY”
PRODUCTION DESIGNER STEPHAN G. OLSON
SET DESIGNER DANIEL SAKS
SET DECORATOR SUSAN ESCHELBACK
HELL’S KITCHEN: “EPISODE #810”
PRODUCTION DESIGNER JOHN JANAVS
ART DIRECTOR ROBERT FRyE
ART DIRECTOR KEVIN P. LEWIS
ASSISTANT ART DIRECTOR JEN SWANSTON
GRAPHIC DESIGNER LIBBy WAMPLER
SET DECORATORS HEIDI MILLERSTEPHEN PAUL FACKRELL
EXCELLENCE IN PRODUCTION DESIGN FOR AN EPISODE OF MULTI-CAMERA, VARIETy, OR UNSCRIPTED SERIES 2010
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CONAN: “EPISODE 1.1”
PRODUCTION DESIGNERS JOHN SHAFFNERJOE STEWART
ART DIRECTOR CHRISTOPHER GOUMAS
ASSISTANT ART DIRECTOR MATT RUSSELL
TWO AND A HALF MEN: “HOOKERS, HOOKERS, HOOKERS”
PRODUCTION DESIGNER JOHN SHAFFNER
ART DIRECTOR FRANCOISE CHERRy-COHEN
SET DECORATOR ANN SHEA
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MAD MEN: “PUBLIC RELATIONS”
PRODUCTION DESIGNER DAN BISHOP
ART DIRECTOR CHRISTOPHER L. BROWN
ASSISTANT ART DIRECTOR SHANNA STARzyK
SET DESIGNER CAMILLE BRATKOWSKI
GRAPHIC DESIGNER GEOFFREy MANDEL
SET DECORATOR CLAUDETTE DIDUL
TRUE BLOOD: “TROUBLE
PRODUCTION DESIGNER SUzUKI INGERSLEV
ART DIRECTOR CAT SMITH
ASSISTANT ART DIRECTOR MACIE VENER
SET DESIGNER DANIEL BRADFORD
SET DECORATORS LAURA RICHARzROBERT GREENFIELD
TUDORS: “EPISODE #407”
PRODUCTION DESIGNER TOM CONROy
ART DIRECTORS COLMAN CORISH CARMEL NUGENT
ASSISTANT ART DIRECTOR BRIANA HEGARTy
EXCELLENCE IN PRODUCTION DESIGN FOR AN EPISODE OF A ONE HOURSINGLE CAMERA TELEVISION SERIES 2010
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SET DESIGNERS BRENDAN RANKINLESLEy OAKLEy
GRAPHIC DESIGNER ANNIE ATKINS
SET DECORATOR CRISPIAN SALLIS
24: “4:00 PM - 5:00 PM”
PRODUCTION DESIGNER CARLOS BARBOSA
ART DIRECTOR CARLOS OSORIO
ASSISTANT ART DIRECTOR AMy MAIER
SET DESIGNERS MARCO MIEHERON yATES • CAMERON BIRNIE
GRAPHIC DESIGNER ADAM TANKELL
SET DECORATOR CLOUDIA REBAR
GLEE: “BRITNEY/BRITTANY”
PRODUCTION DESIGNER MARK HUTMAN
ART DIRECTOR MICHAEL RIzzO
SET DESIGNER TIM EARLS
GRAPHIC DESIGNER JASON SWEERS
SET DECORATOR BARBARA MUNCH-CAMERON
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MODERN FAMILY: “HALLOWEEN”
PRODUCTION DESIGNER RICHARD BERG
ASSISTANT ART DIRECTOR CLAIRE BENNETT
SET DECORATOR AMBER HALEy
30 ROCK: “LIVE SHOW”
PRODUCTION DESIGNERS KEITH IAN RAyWOODTERESA MASTROPIERRO • PETER BARAN
SCENIC ARTIST ELINA KOTLER
SET DECORATOR JENNIFER GREENBERG
OUTSOURCED: “HOME FOR THE DIWALIDAYS”
PRODUCTION DESIGNER JOSEPH P. LUCKy
ART DIRECTOR WILLIAM DURRELL, JR
SET DESIGNER VIVA WANG
GRAPHIC DESIGNER MEAGEN MINNAUGH
SET DECORATOR CHERIE DAy LEDWITH
EXCELLENCE IN PRODUCTION DESIGN FOR AN EPISODE OF A HALF HOURSINGLE CAMERA TELEVISION SERIES 2010
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PRODUCTION DESIGNER CABOT MCMULLEN
ART DIRECTOR COLIN DEROUIN
ASSISTANT ART DIRECTOR SARA PETERSEN
SET DECORATOR BETH WOOKE
COMMUNITY: “BASIC ROCKET SCIENCE”
PRODUCTION DESIGNER DEREK R. HILL
ASSISTANT ART DIRECTOR ROBERT JOSEPH
SET DECORATOR DENISE PIzzINI
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Prince Alexander Alexandrovich Galitzine was born in Moscow, a relative of the tsars, but escaped the country with his family during the Russian Revolution. While his father was imprisoned, his mother fled with their five children in a boxcar across Siberia, finally reaching Harbin in what was then Manchuria. After his father finally got free, he brought Alex and two of his sisters to Seattle, where Alex graduated from Victoria Boys School and then enrolled at the University of Washington. He earned a degree in architecture there, and then moved to Los Angeles in 1933 to become an assistant to fellow Russian-born art director, Alexander Toluboff at MGM working as an illustrator on Queen Christina (1933).
He was laid off from MGM, but he soon got a job as a sketch artist with director Lewis Milestone on RAIN. This was an important step for Golitzen, since it introduced him to Richard Day, the head of the art department at United Artists and one of the industry’s most talented art directors. Alex went to work for Day at United Artists, and throughout the 1930s, worked as a sketch artist, draftsman and assistant art director on a number of productions with him, including Roman Scandals (1933), Les Miserables (1935), Come and Get It! (1936), Dodsworth (1936), Stella Dallas (1937), The Hurricane (1937), and Dead End (1937). Golitzen had his first chance as a full-fledged art director in 1935 on The Call of the Wild, a 20th Century-Fox production which was filmed on location in Mount Baker, Washington.
He began working for producer Walter Wanger in 1939 and they worked together on many films. Early projects with Wanger included Alfred Hitchcock’s second film in the United States Foreign Correspondent (1940), for which Alex was nominated for his first art direction Academy Award. In 1942, after creating the sets for Ernst Lubitch’s That Uncertain Feeling (1941), Alex was hired by Universal to design Walter Wanger’s production of Eagle Squadron (1942). Over the next ten years, Alex worked on several dozen films ranging from adventure pictures and westerns to costume dramas. He won his first Academy Award in 1943 for his impressive art direction of Universal’s Technicolor remake of Phantom of the Opera.
Many of Alex’s films during the 1940s continued to be made in collaboration with Wanger, including Arabian Nights (1942), Salome Where She Danced (1945), and Night in Paradise (1946). In 1945, Alex designed Wanger’s production of the moody Fritz Lang classic Scarlet Street, and in 1948 had the opportunity to work with Max Ophuls on Letter from an Unknown Woman, one of the most beautifully crafted and carefully detailed period films of the postwar era.
While continuing to work as a unit art director at Universal through the late 1940s and early 1950s, Alex also began to fill in for the ailing department head, Bernard Herzbrun. In 1955, he officially succeeded Herzbrun as the supervising art director of the studio. As head of the art department, Alex was in charge of hiring and supervising the art directors, coordinating set construction, location selection and budgets, working closely with the other studio department heads and consulting with the art directors on their productions. Along with his associates, he is credited as the art director on most the films produced by Universal on the Universal City lot from 1954 to 1973.
Although considered a genius for his work in color films, including westerns, musicals, and even the science fiction film, This Island Earth (1955), he was also adept in black & white. To Kill a Mockingbird (1962) won an Oscar for Golitzen and Henry Bumstead. Golitzen also did notable work for television series such as The Twilight Zone (1959) and Alcoa Presents: One Step Beyond (1959). He retired on a high note: his very last film, Earthquake (1974), was Oscar-nominated.
ALEXANDER GOLITzEN1908 – 2005
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Albert Heschong was present at the very beginning of television design, and over a fifty year career designed literally hundreds of television dramas, at first for live broadcast and later on videotape and film.
He was born and grew up in Cincinnati, Ohio, the son of German immigrant parents. When the new Walnut Hills College Preparatory High School was built next to his childhood home, he resolved to enroll. The school had a brand new, state-of-the-art theater with trapped stage and a fifty-foot fly loft. Throughout high school he alternately acted, and designed and constructed sets for the school productions. This background, and a natural penchant for drawing, led him to Carnegie Tech (now Carnegie Mellon University) where he studied acting as well as set design. Halfway through his second year, he switched his major to architecture and worked summers at stock theater companies in upstate New York and Cleveland.
A trip to the 1939 World’s Fair on Long Island, and a tip from a fellow stock-company actor led him to meet James McNaughton (a Carnegie architecture graduate) who was the entire Art Department for RCA/NBC’s experimental television at Radio City in New York. Although an eventful decade, filled with four war-years in the service, marriage and the birth of his sons, kept him from capitalizing on that meeting, Heschong finally returned to New York in 1949 to work for McNaughton at the new ABC network. For the next six years he designed more than three-hundred live dramas, some half-hour and some one-hour, for shows such as Boris Karloff Presents, Pulitzer Prize Playhouse, and U.S. Steel Hour.
In 1955, Heschong was lured away from ABC and from New York, to help start up CBS Television City in Hollywood. He was the third designer hired there: Jim Vance was designing episodes of Climax, and Robert Tyler Lee, the department head, was busy on The Jack Benny Show and an unending series of game shows and specials. Walter Herndon and Richard Haman would join soon after. For the next four years, Heschong designed more than one-hundred episodes of variety and situation comedy series and more than forty dramatic shows that reflected the finest moments of live television drama: The Great Gatsby, The Miracle Worker, Judgement at Nuremburg, and Requiem For a Heavyweight, for which he won an Emmy Award.
These live dramas, even though designed to be shot with multiple cameras, were heavily influenced by film-studio techniques and detailing, and Heschong longed to try his hand at the growing field of filmed television. When his friend Dick Haman suggested he interview for a CBS show at Paramount, Heschong landed his longest job with a single employer—twenty-four years. CBS was looking for a designer for Gunsmoke, and they also wanted to relocate the series to the old Republic Pictures lot in Studio City. Heschong took on the assignment, and in 1962 he was appointed head of the art department there, a job he would hold until his retirement. Other designers filled in on Gunsmoke in those years (Joseph Jennings designed more than one-hundred episodes), while Heschong created and supervised other series such as Wild, Wild West, Gilligan’s Island, The Munsters, The Mary Tyler Moore Show and dozens of others. He also found time to design more than thirty television MOWs and several feature films for CBS even while he continued to supervise the network’s film art department.
When it comes to television Production Design, Albert Heschong did it all, and he did much of it before anyone else. From his extraordinary creativity in the earliest days of black-and-white live broadcasts through Golden-Age dramas at Television City, to convincing the network to purchase CBS Studio Center and setting up its art department, he was one of the most influential production designers in the history of television.
ALBERT HESCHONG1919 – 2001
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Eugene Lourié had several careers, and all of them were hugely influential in the development of contemporary Production Design.
Lourié was born in 1903 in Kharkov in tsarist Russia, and fled the country with his family following the Bolshevik Revolution in 1917, first to Turkey and then to France. The young boy had fallen in love with movies at an early age and was destined for a career in cinema. Although he studied painting in the 1920s, he always supported himself with film work and never pursued a real career in fine art.
Paris in the 1920s was the home to thousands of Russian emigres escaping from the Communists, including film producers and directors who continued making films in their new country. In 1921, when Lourié arrived in Paris, he went immediately to work as a set and background painter and over the next few years his reputation grew and led him to be employed by some of the finest directors of the French Golden Age: Marcel L’Herbier, Jacques Becker, René Clair, Max Ophuls and Jean Renoir. The three classic films that Lourié designed for Renoir established him as a leading French Art Director: La Grande Illusion (1937), La Bête Humaine (1938) and Règle du Jeu (The Rules of the Game) (1939). More than any designer working in popular cinema at that time, Lourié understood the metaphorical uses of Production Design and his designs told stories beyond the written script.
In 1937 Lourié had to escape yet again, this time from Nazism after the fall of France, and he fled to Hollywood with many others in the European film community. As an acclaimed European designer, his services were requested by Hollywood’s leading filmmakers: Zoltan Korda on Sahara (1943); Julien Duvuvier on The Imposter (1944); Robert Siodmak, with whom Lourié had worked in Paris, on The Strange Affair of Uncle Harry (1945); and Anatole Litvakon The Long Night (1947). His collaboration with Renoir continued as well.
He continued to work only sporadically as an Art Director because he diversified his career and his interests. He began directing films, including the science fiction classic The Beast From 20,000 Fathoms (1953), and became a leading designer of special visual effects for films such as Krakatoa, East of Java (1968). As an Art Director, he still produced some stunning work. He worked for Samuel Fuller on two of the director’s classic post-noir hard boiled thrillers, Shock Corridor (1963) and The Naked Kiss (1964). He designed Charlie Chaplin’s final film, Limelight (1952) in a highly expressionistic style, and he worked yet again with Renoir on a true masterpiece, The River (1951) filmed entirely in India, where his colorful and exotic settings proved him to be a master of Technicolor as well as his more usual black- and-white films.
Eugene Lourie will be remembered, chiefly through his collaborations with Jean Renoir, as the designer who helped to establish a broader scope to Production Design, away from the confines of the soundstage and backlot. His realist style would presage the filmmaking of the post-Golden Age era.
EUGENE LOURIÉ1903 – 1991
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82ND ANNUAL ACADEMY AWARDS
PRODUCTION DESIGNER DAVID ROCKWELL
ART DIRECTORS JOE CELLI BARRy RICHARDS
ASSISTANT ART DIRECTOR GLORIA LAMB
SET DESIGNER RESA DEVERICH
2010 MTV VIDEO MUSIC AWARDS
PRODUCTION DESIGNER FLORIAN WIEDER
ART DIRECTORS ISABELL RAUERT TAMLyN WRIGHT
ASSISTANT ART DIRECTOR MATT STEINBRENNER
ILLUSTRATORS GEORG BOERNER THOMAS RICHTER
GRAPHIC DESIGNER FALK ROSENTHAL
62ND PRIME TIME EMMY AWARDS
PRODUCTION DESIGNER STEVE BASS
ART DIRECTOR KRISTEN MERLINO
EXCELLENCE IN PRODUCTION DESIGN FOR AN AWARDS, MUSIC OR GAME SHOW 2010
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PRODUCTION DESIGNER BRIAN J. STONESTREET
SUPER BOWL XLIV
PRODUCTION DESIGNER BRUCE RODGERS
ART DIRECTORS SEAN DOUGALLMAI SAKAI
ASSISTANT ART DIRECTOR JAKE KAVANAGH
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MILK: “THE DENTIST”
PRODUCTION DESIGNER JEFFREy BEECROFT
ART DIRECTORS SIMON MURTONSEBASTIAN SCHROEDER
ASSISTANT ART DIRECTOR DAWN SEVERDIA
GRAPHIC DESIGNER SCOTT PURCELL
SET DECORATOR KAREN OHARA
FARMERS INSURANCE: “FROZEN PIPES”
PRODUCTION DESIGNER KEN AVERILL
ART DIRECTOR THOMAS WILKINS
ASSISTANT ART DIRECTOR SCOTT HEINEMAN
SET DECORATOR ELIzABETH RAGAGLI
CAPITAL ONE: “RAPUNZEL”
PRODUCTION DESIGNER JEREMy REED
ILLUSTRATOR ROBERT SILLS
EXCELLENCE IN PRODUCTION DESIGN FOR A COMMERCIAL OR MUSIC VIDEO 2010
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PRODUCTION DESIGNER FLOyD ALBEE
ART DIRECTOR ALEXANDER WEI
ASSISTANT ART DIRECTOR ANDREW CLARK
SET DECORATOR GAIL OTTER
DOS EQUIS: “ICE FISHING”
PRODUCTION DESIGNER JESSE B. BENSON
SET DECORATOR BIANCA FERRO
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PATRICIA NORRISFor many reasons Patricia Norris is a superior choice for the Art Directors Guild Lifetime Achievement recognition. By celebrating Patricia’s life and career the Guild reaffirms the hopes of every young designer regardless of their background or gender, encouraging them to pursue their dreams and overcome the status quo in the pursuit of their creative aspirations. For these reasons the Guild has elected to recognize Patricia Norris with its highest honor, that of Lifetime Achievement.
Patricia is one of only a very few American designers who have been able to successfully combine the dual practices of production and costume design for film and television.
The sum total of her achievements from each of these career pursuits is impressive and when combined become extraordinary. Patricia’s costume designs have been nominated five times by the Academy of Motion Picture Arts and Sciences for works as diverse as Days of Heaven, The Elephant Man, Victor/Victoria, 2010, and Sunset. But with all her accomplishments she still proudly refers to herself as “just a working housewife from Van Nuys,” and we would venture to add, “a single working-mother who raised five children without assistance” as well.
Patricia began her career in the film industry as a stock girl in the wardrobe department of MGM Studios. She worked her way up through that department eventually securing the lead position of costumer and finally that of costume designer creating works such as The Candidate, The Sunshine Boys, The Missouri Breaks, Silent Movie, High Anxiety, California Suite, Frances, Four Friends, Scarface, and Micki + Maud to name but a few.
Patricia had designed a number of independent productions in her dual roles as the production and costume designer but it was with Blue Velvet in 1986 that she was able to finally gain formal recognition as a production designer. Through her tenacious will and spirit she overcame the obstacles and barriers of the day gaining Union membership and recognition within the Society of Motion Picture and Television Art Directors, the predecessor of today’s Art Directors Guild. Patricia went on to design a number of independent productions, serving seamlessly in her dual capacities. Her work with director David Lynch alone spans more than two decades collaborating on such Lynch classics as Wild at Heart, the pilot for Twin Peaks, and Lost Highway.
Patricia’s other dual production and costume design credits include Amos & Andrew, The Journey of August King, The Hi-Lo Country, Delivering Milo, The Return to Lonesome Dove, The Singing Detective, and The Assassination of Jesse James.
Focusing on the story’s details, nuances and the need to create a history and back-story that is relevant to the character’s journey are all central to the collaboration between the production and costume designer. These designers are the first of the production’s creative team to translate and visualize the story and its characters into a tangible reality. Patricia has always been meticulous in the preparations of her films, focusing on the details as well as the big picture. And though in large gatherings one might find her shy, when it comes to the pursuit of her work she is always bold, outspoken and courageous. But it is for Patricia Norris’ professionalism, courage and honesty, and most importantly her life’s story and its message of hope, that the Art Directors Guild now comes to honor and celebrate her continuing career with its Lifetime Achievement recognition.
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PRODUCTION DESIGNER ROBB WILSON KING
ART DIRECTOR NELSON ANDERSON
GRAPHIC DESIGNER STEVEN MAES
SET DECORATOR SANDyHA HUTCHINSON
EXCELLENCE IN PRODUCTION DESIGNFOR A TELEVISION MOVIE OR MINISERIES 2010
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REVENGE OF THE BRIDESMAIDS
PRODUCTION DESIGNER MARCIA HINDS
ASSISTANT ART DIRECTORS JOHN SANCHEzKRISTIN LEKKI
GRAPHIC DESIGNER TRINH VU
SCENIC ARTIST SUE M. FORD
SET DECORATOR ELLAN BRILL
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Inspired by Ray Harryhausen’s miraculous effects in JASON AND THE ARGONAUTS (1963) and fueled by a lifelong interest in stage magic and sleight-of-hand, visual effects supervisor and director of photography BILL TAYLOR ASC began his career as an optical cameraman specializing in blue screen compositing.
In 1974 he created optical effects (and title song lyrics) for John Carpenter and Dan O’Bannon’s ultra-low-budget DARK STAR; in the same year he began work at Universal Studios Matte Department as the cameraman for the renowned Matte Artist Albert Whitlock, a longtime mentor. His future business partner Syd Dutton came on board a month later.
THE HINDENBURG (1975), Taylor’s and Dutton’s first film with Whitlock, received the Oscar for visual effects. When Whitlock retired in 1985, Taylor and Dutton founded Illusion Arts, where they earned credits on nearly 200 films.
Notably, Taylor served as on-set visual effects supervisor on THE FAST AND THE FURIOUS (2001), BRUCE ALMIGHTY (2003), and CASANOVA (2005). More recently Bill and Syd Dutton co-supervised MILK (2008) for which they created more than 150 “invisible” shots. As Illusion Arts wound up its 26 year run, the company completed dozens of shots for Michael Mann’s PUBLIC ENEMIES for supervisor Robert Stadd and some key environments for GI JOE.
Bill also worked as second unit or models unit cinematographer for DAYLIGHT (1996), CLOCKSTOPPERS (2002), SERENITY (2005), THE NANNY DIARIES (2007), RAMBO (2008), and SOUL MEN (2008).
He is the co-author (with another mentor, Petro Vlahos) of the chapters on blue-screen and green-screen compositing in both the “American Cinematographer Manual” and the “Visual Effects Society Handbook”. Taylor was the founding co-chair of the Motion Picture Academy Science and Technology Council, and is in his fifth term as Academy Governor representing the Visual Effects Branch, where he chairs the Executive Committee. Taylor has received a Saturn, an Emmy and a Motion Picture Academy Technical Achievement Award. He is a Life Member of the Visual Effects Society, and the recipient of the Society’s 2009 Founder’s Award. Both Bill and Syd Dutton were awarded honorary degrees from the Academy of Art University in San Francisco.
Taylor’s speaking engagements have included many appearances at the USC and UCLA film schools and the American Film Institute, as well as talks for the Society of Optical Engineers, the Society of Motion Picture and Television Engineers, the National Film Board of Canada, and the Entertainment Imaging Conference in Kanazawa, Japan. Bill twice served as the Host of the Visual Effects Theater at ShowBiz Expo.
In his spare time, Taylor collects and photographs unusual clocks and continues to create stage illusions for performers around the world.
Bill will always be grateful to his mentors Petro Vlahos, the late Lin Dunn ASC and to the late Al Whitlock.
Syd Dutton, co-owner of Illusion Arts, was born in San Francisco. His talents were recognized at an early age and his personal ambition to improve his artistic skills followed him through high school to studying art at U.C. Berkeley. There, he received his B.A. and Master’s Degrees.
Soon after graduation, Dutton’s interests broadened to include film making, and he moved to Los Angeles. Starting off in the mailroom at Universal Studios, he was first exposed to the art of matte painting through daily visits to the studio of veteran matte painter Albert Whitlock. Before long, Dutton began nearly decade in the department, initially as Whitlock’s assistant matte artist.
Syd worked on many films and television shows at Universal, including: “The Hindenburg,” which won an Academy Award for Visual Effects; “Dune;” and the television mini-series “A.D.,” which won an Emmy for Special Visual Effects.
After Whitlock’s retirement, Dutton, along with his colleague (Director of Photography Bill Taylor), formed Illusion Arts. The two men were joined by the same talented staff with whom they had worked at Universal Studios.
One of Illusion Arts’ first major assignments was to create special effects for the new version of the television series “The Twilight Zone.” Today, this still remains one of Dutton’s fondest projects.
Syd feels that the most successful special effects are those the audience does not realize are effects at all. He strives for realism, whether it is recreating the past in an ancient Roman city or imagining a future world.
Dutton has worked for a diverse group of the top directors, including: Martin Scorsese, Terry Gilliam, Wolfgang Peterson, Robert Redford, George Roy Hill, Edward Zwick, Mel Brooks, Richard Attenborough, Frank Oz, Rob Cohen, Mark Rydell, Rob Reiner, Michael Mann, Gus Van Sant, Stephen Sommers, M. NightShyamalan, Forest Whitaker, and Mike Nichols.
Recent films on which Syd has worked include: “Blood Diamond” for Warner Brothers, “Miami Vice” for Universal, “The Bucket List” for Warner Brothers, “Public Enemies” for Universal, “Zombieland” for Columbia Pictures, “Karate Kid” for Columbia Pictures, and Sophia Coppola’s “Somewhere” for Universal.
In 2005, Dutton received an honorary doctorate degree from the San Francisco School of Art for his contribution to his craft.
BILL TAyLORSyD DUTTON
CIN
EMAT
IC IM
AG
ERy
AW
AR
DCIN
EMATIC IM
AG
ERy A
WA
RD the art Directors Guild’s is deeply honored to present our most
coveted honorary outstanding contribution to cinematic imagery award to Syd Dutton and Bill Taylor. For the first time this award
is presented to two extraordinarily talented individuals who as partners rewrote and forever changed the artistry of visual effects.
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EXCELLENCE IN PRODUCTION DESIGN FOR A CONTEMPORARY FEATURE FILM 2010
BLACK SWAN
PRODUCTION DESIGNER THERESE DEPREz
ART DIRECTOR DAVID STEIN
GRAPHIC DESIGNER DERRICK KARDOS
SCENIC ARTIST GREG SULLIVAN
SET DECORATOR TORA PETERSON
THE SOCIAL NETWORK
PRODUCTION DESIGNER DONALD GRAHAM BURT
ART DIRECTORS CURT BEECH KEITH P. CUNNINGHAM • ROByN PAIBACARL SPRAGUE
SET DESIGNERS AARON HAyETHEODORE SHARPS • RANDALL D. WILKINSJANE WUU • FANTE zAMORA
STORYBOARD ARTISTS RICHARD BENNETTMATTHEW MERENDA
ILLUSTRATOR JOANNA BUSH
GRAPHIC DESIGNER DAVID SCOTT
SET DECORATOR VICTOR J. zOLFO
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PRODUCTION DESIGNER JUDy BECKER
ART DIRECTOR LAURA BALLINGER GARDNER
ASSISTANT ART DIRECTOR JEREMy ROSENSTEIN
ILLUSTRATOR ISRAEL JAVIER AMEIJEIRAS
GRAPHIC DESIGNER KEVIN RAPER
KEY SCENIC DAN COURCHAINE
SCENIC FOREMAN MARy HOPKINS
CAMERA SCENIC RALPH CONTRADO
SCENIC ARTISTS ROMINA DIAz-BRARDALORI HRUSKA • DAVID COSTELLODAVID RICKSON • KIM NELSON CRAIG PASCO
SET DECORATOR GENE SERDENA
EXCELLENCE IN PRODUCTION DESIGN FOR A CONTEMPORARY FEATURE FILM 2010
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PRODUCTION DESIGNER SHARON SEyMOUR
ART DIRECTOR PETER BORCK
SET DESIGNER GEORGE R. LEE
GRAPHIC ARTIST BRANDON SMITH
SCENIC CHARGE JOSEPH BARILLARO
SET DECORATOR MAGGIE MARTIN
127 HOURS
PRODUCTION DESIGNER SUTTIRAT LARLARB
ART DIRECTOR CHRIS DE MURI
SET DESIGNER LINDEN SNyDER
SCENIC ARTIST TyLER ASTROPE
SET DECORATOR LES BOOTHE
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ALICE IN WONDERLAND
PRODUCTION DESIGNER ROBERT STROMBERG
SUPERVISING ART DIRECTOR STEFAN DECHANT
ART DIRECTORS TODD CHERNIAWSKyANDREW JONES • MIKE STASSI
ASSISTANT ART DIRECTORS KASRA FARAHANISCOTT HERBERTSON
LEAD SET DESIGNER BILLy HUNTER
SET DESIGNERS • SCOTT BAKERTAMMy LEE • RICHARD MAySJEFF MARKWITH • DAVID MOREAUANNE PORTER
ILLUSTRATORS DAWN BROWN-MANSERDyLAN COLE • SETH ENGSTROMSCOTT LUKOWSKI • WARREN MANSER JAMES MARTIN • STEVE MESSINGCRAIG SHOJI • DAPHNE yAP
LEAD MODEL MAKER JASON MAHAKIAN
MODEL MAKERS JEFF FROSTGREG JEIN • BRETT PHILLIPS
SET DECORATOR KAREN O’HARA
EXCELLENCE IN PRODUCTION DESIGN FOR A FANTASY FEATURE FILM 2010
HARRY POTTER AND THE DEATHLY HALLOWS, PART I
PRODUCTION DESIGNER STUART CRAIG
SUPERVISING ART DIRECTOR NEIL LAMONT
SENIOR ART DIRECTOR ANDREW ACKLAND-SNOW
ART DIRECTORS MARK BARTHOLOMEWAL BULLOCK • GARy TOMKINSHARRIET STOREy • NIC HENDERSONMARTIN FOLEy • MOLLy HUGHESCHRISTIAN HUBAND • KATE GRIMBLEOLIVER ROBERTS
ON-SET ART DIRECTOR STEPHEN SWAIN
ASSISTANT ART DIRECTORS PETER DORMEASHLEy WINTER
SET DESIGNERS ALEX SMITHAMANDA LEGGATT • ANDREW PALMEREMMA VANE • JULIA DEHOFF
ILLUSTRATORS ADAM BROCKBANKANDREW WILLIAMSON • PETER MCKINSTRyPAUL CATLING
GRAPHIC DESIGNERS MIRAPHORA MINAEDUARDO LIMA
SCENIC ARTISTS MARCUS WILLIAMSMATT WALKER
SET DECORATOR STEPHANIE MCMILLIAN
INCEPTION
PRODUCTION DESIGNER GUy HENDRIX DyAS
SUPERVISING ART DIRECTORS BRAD RICKERFRANK WALSH
ART DIRECTORS LUKE FREEBORNDEAN WOLCOTT
ASSISTANT ART DIRECTOR JOSH LUSBy
SET DESIGNERS MARK HITCHLERGREG HOOPER • BOB FECHTMANLARRy HUBBS • SAM PAGE
ILLUSTRATOR NATHANIEL WEST
GRAPHIC DESIGNER WILL ELISCU
SET DECORATORS LARRy DIASDOUG MOWAT
TRON: LEGACY PRODUCTION DESIGNER DARREN GILFORD
ART DIRECTORS KEVIN ISHIOKAMARK MANSBRIDGE • GRANT VAN DER SLAGTBEN PROCTER • SEAN HAWORTH
ASSISTANT ART DIRECTOR KEVIN LOO
SET DESIGNERS BENJAMIN EDELBERGJOE HIURA • ROB JOHNSONLUIS HOyOS • ANDREW REEDER
ILLUSTRATORS DAVID LEVyNEVILLE PAGE • DANIEL SIMONED NATIVIDAD • PHIL SAUNDERSDyLAN COLE
GRAPHIC DESIGNER DAVE SCOTT
SET DECORATOR LIN MACDONALD
THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER
PRODUCTION DESIGNER BARRy ROBISON
SUPERVISING ART DIRECTOR IAN GRACIE
ART DIRECTORS MARK ROBINSKAREN MURPHy • MARCO NERO
ASSISTANT ART DIRECTOR JACINTA LEONG
ILLUSTRATOR MIN yUM
SCENIC ARTIST MATT CONNERS
SET DECORATOR REBECA COHEN
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EXCELLENCE IN PRODUCTION DESIGN FOR A PERIOD FEATURE FILM 2010
TRUE GRIT
PRODUCTION DESIGNER JESS GONCHOR
SUPERVISING ART DIRECTOR CHRISTINA WILSON
ART DIRECTOR STEFAN DECHANT
SET DESIGNERS ADELE PAUCHEJEFF ADAMS JOHN FRICK
ILLUSTRATOR GREGORy HILL
GRAPHIC DESIGNER ELLEN LAMPL
SCENIC ARTIST THOMAS E. BROWN
SET DECORATOR NANCy HAIGH
THE KING’S SPEECH
PRODUCTION DESIGNER EVE STEWART
SUPERVISING ART DIRECTOR DAVID HINDLE
ART DIRECTOR LEON MCCARTHy
STANDBY ART DIRECTOR NETTy CHAPMAN
GRAPHIC DESIGNER AMy MERRy
STORYBOARD ARTIST DOUGLAS INGRAM
SET DECORATOR JUDy FARR
THE
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SHUTTER ISLAND
PRODUCTION DESIGNER DANTE FERRETTI
SUPERVISING ART DIRECTOR ROBERT GUERRA
ART DIRECTORS CHRISTINA WILSONMAX BISCOE
ASSISTANT ART DIRECTORS HINJU KIMMARION KOLSBy • BARBRA S. MATISPATRICIA WOODBRIDGE
SCENIC FOREPERSONS GARF BROWNSEAN BERNARD • ALEJANDRA MARTINEzHAVEN STOREy
SCENIC ARTISTS TONy APONTEERIN ELIzABETH BOWMAN • RALPH CONTRADOPATRICK GLOVER • HANNAH KINGMITCHELL LANDSMAN • ROBERT T. MCPHERSONPETER OKTAVEC • KATHERINE PARKERRANDy L. PARISIAN • CRAIG S. PASCOJEREMy M. PEREIRA • MIKHAIL ROMANOVJOHN S. SCHLICTER • RAE SIGNERTERRy SyNNOTT • JAMES TOLMANPETER TUPIzA
SET DECORATOR FRANCHESCA LO SCHIAVO
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EXCELLENCE IN PRODUCTION DESIGN FOR A PERIOD FEATURE FILM 2010
ROBIN HOOD
PRODUCTION DESIGNER ARTHUR MAX
SUPERVISING ART DIRECTOR JOHN KING
SENIOR ART DIRECTORS DAVID ALLDAyRAyMOND CHAN
ART DIRECTORS MARK HOMESADAM O’NEILL • MATT ROBINSONMIKE STALLION • TOM STILLMARK SWAIN • REMO TOzzIBEN MUNRO
SET DECORATING ART DIRECTOR KAREN WAKEFIELD
SET DECORATOR SONJA KLAUS
GET LOW
PRODUCTION DESIGNER GEOFFREy KIRKLAND
ART DIRECTOR KOREy MICHAEL WASHINGTON
STORYBOARD ARTIST CHRIS HUNTER
SCENIC CHARGE JIM PASSANANTE
SCENIC FOREMAN SEAN BERNARD
SCENIC ARTISTS KEVIN P. FLEMINGLEE IVEy • CyNTHIA JORDAN
SET DECORATOR FRANK GALLINE
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MICHEL LEVESQUE1943-2010
PETER JAMISON 1944-2010
JIM REyNOLDS1926-2010
MT BRyANT1928-2010
JOHN JEFFRIES1936-2010
ROBERT BOyLE1909-2010
JOHN GRAySMARK1935-2010
ISMAEL CARDENAS 1967-2010
IN M
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EVENT CO-PRODUCERSDawn SnyderThomas Wilkins
EVENT COMMITTEERuth AmmonMarjo BernayScott EngeGerald LehtolaJohn SabatoAugust SantistevanMichele SefmanRobert StrohmaierThomas A. Walsh
PRODUCTION CREDITSEvent Production, Ticket Sales & Sponsorship - plan AShow Director - Lionel PasamonteStage Manager - Josh WaderTalent Stage Manager - Kelly LovePublic Relations - Murray Weissman & AssociatesTalent Executive - Robin KatzmanEntertainment - Johnny Crawford and His OrchestraEditing: Dennis Welch Jack Tucker, ACE Michael Sheridan, ACE Patrea Patrick Jonghun Park Layne HurleyHall of Fame Reel Produced by Dave Blass and Dennis WelchLifetime Achievement Reel Produced by Robert StrohmaierCinematic Imagery Reel Produced by Dennis WelchBallots Certified by Votenet SolutionsVideo Production, Projection Equipment and Services – Norm Levin & CompanyLighting Rentals and Technicians -- AVT Event Technologies Sound – AVT Event Technologies Transportation - Aloha Limousine ServiceTeleprompter - Computer Prompting Services, Inc.Awards Programs Printer - Prestone Graphics Floral Arrangements – Andres Floral and Event Design
SPECIAL THANKS TOScott Enge - Scenic DesignD Martyn Bookwalter – Lighting DesignAugust Santistevan - Invitation Design, Awards Program Design & Editor, Awards Title Screens Design Astek Inc./On Air Designs Dazian Fabrics – DraperyDenise Okuda – Assistant Events ManagerMike OkudaLibby Woolems – The Acme Local 33, IATSEDangling Carrot CreativeGreg (Tiny) HamlinSwarovski - For The Loan of Crystals
OFFICERS AND EXECUTIVE BOARDThomas A. Walsh – PresidentChad Frey – Vice PresidentLisa Frazza – SecretaryCate Bangs – Treasurer Stephen Berger - Trustee Casey Bernay – Trustee Marjo Bernay - TrusteeEvans Webb – Trustee
C. Scott Baker, Pat De Greve, Michael Denering, Mimi Gramatky, Billy Hunter, Corey Kaplan, Gavin Koon, Adolfo Martinez, Joseph Musso, Denis Olsen, John Shaffner, Jack Taylor, Jr.
STAFFScott Roth – Executive DirectorJohn Moffitt – Associate Executive DirectorPeter Koczera – Organizer and Field RepresentativeLydia Zimmer – Operations DirectorCynthia Paskos – Operations ManagerMarjo Bernay – Manager, Awards & EventsCasey Bernay, Dana Bradford, Nicholas Hinds, Sandra Howard, Sandy Johnson, Laura Kamogawa, Nicki La Rosa, Christian McGuire, Nicole Oeuvray, Debbie Patton, Adrian Renteria, Alexandra Schaaf
ART DIRECTORS COUNCILThomas A. Walsh – ChairJohn Shaffner – Vice ChairCorey Kaplan – SecretaryJack Taylor, Jr. – TreasurerStephen Berger – TrusteeJoseph Garrity, Adrian Gorton, Mimi Gramatky, John Iacovelli, Molly Joseph, Greg Melton, Jay Pelissier, Jim Wallis, Tom Wilkins
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