Podcasts about Production designer

TV time! Almost immediately after "retiring" from feature films, Steven Soderbergh directed ten episodes of THE KNICK, a period medical drama for Cinemax about the early days of modern surgery. Joining us to talk about nearly ten hours of television is comedian and host of the podcast This Is Your Afterlife, Dave Maher! We have a wide-ranging discussion covering everything from prestige television antiheroes to addiction to chronic illness to racial disparities in medical care to what Kimi would like to do with Dave if she ever gets him alone. It's a real fun extra-long episode, and still probably our lowest ep-length-to-subject-length ratio ever. Take off your white shoe and dig in! Further Reading: "No Leeches, No Rusty Saw, But Hell Nonetheless" by Alessandra Stanley The Knick: Anatomy of a Series by Steven Soderbergh et al. "The Binge Director" by Matt Zoller-Seitz "Meet the Man Who Makes Sure The Knick Is Medically Accurate" by Marcus Jones "Syphilis Noses and Finding the Right Dirt: The Knick's Production Designer on Making the Show Look Real" by Matt Patches "'The Knick' Creators on How They Went From Writing Studio Rom-Coms to Steven Soderbergh's New TV Show" by Ben Travers Further Viewing: ER (1994) GANGS OF NEW YORK (Scorsese, 2002) MAD MEN (2007) THE PITT (2025) Follow Dave Maher: https://thisisyourafterlife.com/ https://x.com/ThisIsDaveMaher https://www.instagram.com/thisisyourafterlife/ https://www.instagram.com/thisisdavemaher/ Follow Pod Casty For Me: https://www.podcastyforme.com https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

SEASON 2 - EPISODE 184 - Fiona Crombie - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Fiona Crombie (HAMNET, THE FAVOURITE, SNOWTOWN). Despite being raised on her father's film sets in Australia, Fiona didn't enter the family business until she dropped out of law school. Throughout our conversation, we discuss Fiona's general design process, her strategies for making the most of the given resources on a film, her typical day-to-day schedule during production, and how she communicates with her fellow filmmakers. Having worked on many period films, Fiona shares with us how she balances the realities of the budget with the intended vision of a film, and she reveals how she and the crew on MACBETH justified the choices they had to make under strict limitations. Fiona later reflects on working under close watch at Hatfield House on THE FAVOURITE, and she discusses collaborating with cinematographer Robbie Ryan (Season 1, Episode 148) and living a production designer's dream: seeing the whole set in a single shot. We also discuss Fiona's work in HAMNET, and she reveals the key piece of direction she received from director Chloé Zhao that unlocked the design of the film's version of The Globe Theatre. Plus, we learn what it's like to make a movie while pregnant. - This episode is sponsored by Picture Shop & Aputure

Production Designer Sara K White (Emmy-nominated for The Flight Attendant) joins Decorating Pages to break down the production design of Peacock's Ponies—a 1970s spy series built through color, texture, ceilings, and period logistics that would break a normal person.In this episode: the CIA “bubble” room design inspired by sound baffles, a women-forward Soviet beauty salon sequence, and the Kombromat surveillance facility—a tunnel maze filled with 70+ matching 1970s TVs that took months to source.

David Long returns to predict and bet the 98th Academy Awards as we break down the gambling lines / betting odds for each of the 24 categories at the Oscars. Mike 1 explains betting to AlsoMom - 3:35 CATEGORIES WITH HEAVY FAVORITES: Lead Actress - 8:48 Original Score - 12:53 Director - 14:08 Original Screenplay - 18:04 Adapted Screenplay - 19:50 VFX - 20:25 Costumes - 22:34 Makeup & Hairstyling - 27:00 Animated Feature - 28:55 Original Song - 31:02 Production Designer - 38:40 Sound - 39:37 BET OR DON'T BET: Film Editing - 42:42 Best Picture - 47:31 Casting - 57:34 Supporting Actor - 1:02:35 THE BATTLEGROUND CATEGORIES: International Feature - 1:11:41 Cinematography - 1:17:13 Documentary Feature - 1:22:50 Lead Actor - 1:28:10 Supporting Actress - 1:34:17 The Shorts - 1:43:10 OUTRO: The Words of Wisdom today are to follow David Long. https://x.com/1DavidLong Otherwise, go back and enjoy all our guests from this season, including David Long's last episodes with us for Holiday Bets. Plus, you can follow us on social media and support our show AND our habits by rating and reviewing, following, liking and subscribing… and as always, by telling your friends about our shows. https://linktr.ee/mikemikeandoscar

Before audiences fall in love with a story, they fall into a world—one shaped by the unseen artistry that turns empty space into something alive. Set and production designer Paul Tate dePoo III has built a career shaping the physical environments that hold our favorite stories. From intimate stages to large-scale productions, his work lives at the intersection of architecture, storytelling, and psychology, where space itself becomes a character. In this episode, Paul reflects on how ideas move from sketch to stage, the collaborative nature of his work, and the responsibility designers carry in shaping how audiences experience a narrative. ----- LINKS: Tate Design Group: https://www.pauldepoo.com/  The New York Public Library for the Performing Arts: https://www.nypl.org/locations/lpa  The New York Public Library Photography Collection: https://www.nypl.org/locations/schwarzman/wallach-division/photography-collection 

If you've ever wondered what a movie production designer actually does, our guest today describes it in the simplest terms: it is everything you see in the frame that isn't a costume. It turns out, production design has a lot in common with product design. Our guest is the visionary production designer Fiona Crombie. You've seen her work in incredible films like The Favourite, and most recently, in the hauntingly beautiful Hamnet. This film is currently taking the industry by storm with eight Academy Award nominations, including a nod for Fiona herself for Best Production Design. Trailer for Hamnet, nominated for 8 Academy Awards in including Fiona Crombie for production design From the sprawling architecture of a Tudor estate down to the specific curve of a spoon or the texture of a tablecloth, Fiona's job is to build a physical reality that reflects the interior lives of the characters on screen. In our conversation, we explore how production design shapes performance, how historical accuracy balances with storytelling, how a visual “mission statement” guides an entire crew, and what it means to create environments that carry grief, love, and memory. Bio Fiona Crombie is an Australian production designer, twice nominated for the Academy Award for Best Production Design — for The Favourite and Hamnet. Born in Adelaide and raised in Sydney, she trained at the National Institute of Dramatic Art (NIDA) before becoming the resident designer at the Sydney Theatre Company, where she developed the deep relationship with text and storytelling that still shapes her work today. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. New premium benefit: get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes. Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid

The sets for the film "Hamnet" included a recreation of the Globe theater and period-accurate homes from 16th century England. Production designer Fiona Crombie discusses her work on the film, which earned her an Oscar nomination. This interview is part of our ongoing Oscar series "The Big Picture." Image courtesy of Focus Features

SEASON 2 - EPISODE 181 - Jack Fisk - Production Designer In this extended episode of the Team Deakins Podcast, we speak with production designer Jack Fisk (MARTY SUPREME, THERE WILL BE BLOOD, MULHOLLAND DRIVE). Spanning the worlds' jungles, mountains, and open plains, Jack's work as a designer brings the real world to the audience on the big screen. Throughout our conversation, Jack discusses his views on designing, and he recalls numerous stories detailing the exhaustive work behind his contributions to films such as DAYS OF HEAVEN, THE THIN RED LINE, and THE REVENANT. Later, Jack reveals how he resurrected post-war New York City in the Lower East Side in MARTY SUPREME, and we discuss how he collaborated with cinematographer Darius Khondji (Season 1, Episode 135) on the film and strove for originality in its design. Jack also reflects on the evolution of his lifelong friendship with David Lynch from high school up until his death in 2025, and he shares how he overcame a number of obstacles while designing MULHOLLAND DRIVE. Plus, Jack recalls how he survived the "highway of death" in Costa Rica. Listen to Ruth De Jong's episode (Season 2, Episode 49) to learn even more about Jack. - Recommended Viewing: MULHOLLAND DRIVE, DAYS OF HEAVEN - This episode is sponsored by Aputure & Picture Shop 

Jeremy began his career working in music videos for a wide range of artists, as well as award-winning commercials globally. Jeremy's feature film work includes the films: Hard Candy, Factory Girl, I Am the Pretty Thing That Lives in the House, My Dinner with Herve, Monster, Jungleland, Gretel and Hansel, Night Teeth, Last Looks, Breathe, Dust Bunny, and They Will Kill You.

Join my online school for eBay sellers here. Get my BOLO books (eBook format) hereGet my BOLO books (printed format) hereContact me for a store review Suzanne@SuzanneAWells.com Follow me on FacebookJoin my private Facebook group here.Find me on YouTube here.Visit my website here.Email your comments, feedback, and constructive criticism to me at Suzanne@SuzanneAWells.com

Dancing with the Stars has to deliver a brand-new world every week — live — with choreography, cameras, lighting, and set changes happening at full speed. In this episode of Decorating Pages, Emmy-winning set decorator and host Kim Wannop talks with Production Designer James Yarnell, a 20-year DWTS veteran and ADG-nominated for the show's “Wicked” episode.James breaks down how the DWTS ballroom is designed around the true priority: the dance floor — including how camera movement is choreographed alongside the dancers, how theme weeks are executed on a brutal weekly timeline, and how scenic builds, props, screens, and projection all have to work together without slowing down a live broadcast.Plus: the iconic detail you didn't know you needed — James literally designed the Mirrorball trophy, and later redesigned it into the Len Goodman Trophy.If you love production design, set decoration, live television, and behind-the-scenes craft stories, this one's a must.

Some of her early roles include: Production Designer for Stephen Cone's film The Wise Kids and Art Director for Greg Araki's White Bird In A Blizzard. Caity's Production Design work for television includes: Comedy Bang Bang, Documentary Now, Joe Pera Talks With You, and Caleb Hearon: Model Comedian. Her feature film work includes: Becoming Bond, Stay Awake, The Adults, and Omni Loop. More recently, Caity designed the feature film Sorry, Baby, written and directed by and starring Eva Victor. Some of Caity's upcoming projects include: The Dink, Via Negativa, and Never Change.

This one's for all the marbles. Your bosses were twiddling their thumbs waiting for lil Jimmy Dycker and now he's only gone and OD'd. So it's up to you Miss Golightly, time to show that you're the smartest in the room. The thing is nothing… Now go prove it! Bankole & Eyo are joined by Ebube for this all-about-SternTao episode of HBO's ‘Industry'. They discuss the role of humanity in this industry, Eric & Harper being honest and of course, Sweetpea and Kwabena on tour. Later, Bankole is joined by ‘Industry' Production Designer, Simon Rogers, to break down the thought that goes into creating the show, Harper & Sweetpea's flats and building Accra in Wales!William Goodman's interview with Sagar Radia here(05:10) - Rishi Fallout(14:25) - Listener Questions & Comments(19:05) - Episode 5 Discussion & Analysis(1:01:18) - Sweetpea in Accra(1:29:35) - Simon Rogers InterviewYou can support us here.Also Available on YouTube.Host: Bankole Imoukhuede Guests: Ebube Ubochi, Eyo Ndem and Simon RogersProduction by: Bankole Imoukhuede

Pluribus on Apple TV+ is a masterclass in modern TV world-building — from massive exterior construction to meticulous interiors where every detail supports character and story. In this episode of Decorating Pages, Emmy-winning set decorator and host Kim Wannop interviews Production Designer Denise Pizzini and Set Decorator Ashley Michelle Marsh (previously featured on the podcast for Better Call Saul) about designing and building the visual world of Pluribus.Denise and Ashley are Art Directors Guild (ADG) nominated, and this conversation gets into the real craft: detailed prep using outlines, approvals that lock the design, and the scale of builds including a fully constructed cul-de-sac neighborhood, an ice hotel environment with sculpted elements, Air Force One build challenges, and complex location/redress work.If you love production design, set decoration, behind-the-scenes craft, and the reality of making film-level work on a TV schedule — this episode is for you.#Pluribus #AppleTV #ProductionDesign #SetDecoration #ArtDepartment #DecoratingPagesPodcast #BetterCallSaul

Academy Award–nominated production designer Tamara Deverell joins the podcast following her Oscar-nominated work on Frankenstein, a visually operatic reimagining that stands as one of the most ambitious production design achievements in recent cinema. With a career spanning decades and long-standing collaborations with Guillermo del Toro, Tamara has helped shape richly textured worlds across film and television. In this conversation, she strips back the job title and explains what a production designer truly does, how the art department is structured, and why research, collaboration, and logistics are just as critical as imagination. The episode dives deep into the making of Frankenstein. Tamara breaks down the design philosophy behind the film, from constructing a full-scale Arctic ship and monumental laboratory towers to grounding fantastical elements in historical reality. She discusses colour motifs, architectural influences, practical builds versus VFX, and the constant dialogue between production design, camera, lighting, and special effects that allows a world like Frankenstein to feel both mythic and real. Powered by Sony Technology. Produced by Deb Van Dieren. Hosted and edited by Lucas Tomoana SOC.

Ian's earlier Art Director work includes the films: Rest Stop, Twilight, and A Single Man. Ian's Production Design work in film includes: Celeste and Jesse Forever, 13 Minutes, and A Very Jonas Christmas Movie. His television Production Design work includes: Parks and Recreation, Love, The Good Place, and A Man on the Inside. 

John's feature film work as Production Designer includes: Your Sister's Sister, Touchy Feely, Lucky Them, Laggies, Sword of Trust, and Outside In. His television design work includes: Three Busy Debras, The Viking Returns, and Penelope. John's more recent Art Director work includes: Train Dreams and The Rivals of Amziah King.

In this episode of Pop Culture Confidential, Christina sits down with prize-winning production designer Fiona Crombie, whose work has shaped some of the most visually striking films of recent years. They talk in depth about Crombie's breathtaking production design for Chloé Zhao's Hamnet, starring Paul Mescal  and Jessie Buckley as William and Agnes Shakespeare. From intimate domestic spaces to the recreation of the legendary Globe Theatre, Crombie reveals how she brought emotion and lived-in detail into the spaces she designed Fiona Crombie was Oscar-nominated for her production design on Lanthimos The Favourite and has also collaborated with Bong Joon-ho (Mickey 17), Ari Aster (Beau Is Afraid), and many other acclaimed filmmakers. This conversation was recorded just after Jessie Buckley's Best Actress win at the Critics' Choice Awards and the Golden Globes, and as Hamnet itself took home Best Picture Drama. Learn more about your ad choices. Visit megaphone.fm/adchoices

SEASON 2 - EPISODE 176 - Chris Lowe - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Chris Lowe (BOB MARLEY: ONE LOVE, THE LAST JEDI, IN BRUGES). We worked with Chris on SKYFALL, and we had a great time catching up with him. In addition to production design, Chris has had a long career as an art director, and he helps us understand how the two positions work together on any given project and what each one's responsibilities are. Throughout the episode, Chris also shares his strategies for communicating with directors and producers, creatively adapting to shifting budgets, and delegating duties to members of the art department. We also reflect on why and how the Shanghai skyscraper scene in SKYFALL pivoted from a location to a set, and Chris shares an episode of creative problem solving from THE LAST JEDI involving the Millennium Flacon, Yoda, and a tree. Plus, Chris reveals how he built Bangkok in Prague during the COVID-19 pandemic for THE GRAY MAN. - This episode is sponsored by Aputure

Production Designer Darren Gilford joins Decorating Pages to break down the production design of TRON: Ares — from building a bold new Dillinger red world to honoring the franchise's visual DNA.Darren shares the real craft behind the look: materials testing (including a candy-apple red technique on stainless panels), how CNC-cut surfaces and grain direction affect highlights on camera, the engineering behind LED-lit floors, and why the Grid demands a totally different approach than “real world” sets. Plus, we talk Flynn's world as a love letter to Sid Mead, Easter eggs pulled from the original archive, and the art department problem-solving it takes to make TRON feel iconic again.TRON Ares, Darren Gilford, production designer, production design, set design, sci-fi film, art department, set decoration, visual effects, concept art, Sid Mead, light cycles, filmmaking podcast.

Quiet on set! Clarence Major returns to chat with Josh and share more about his experiences as a Production Designer, including the time he cut a plane in half for a commercial!

Production Designer Alexandra Schaller joins me to talk about crafting the haunting world of TRAIN DREAMS, the Netflix adaptation of Denis Johnson's novella.We unpack how the cabin became a full character, why the fire tower and logging camp were such ambitious builds, and how shooting almost entirely with natural light and candles shaped every design choice. Alexandra shares how she worked with the director, DP, set decorator, props, greens, and scenic teams to make Washington's landscape feel intimate, mythic, and deeply emotional. Topics include:Turning landscape into storyBuilding and rebuilding the cabin across timeDesigning the fire tower and logging environmentsColor as emotion, especially Gladys's yellowPlanes, trains, and giant trees on an indie budgetThe reality of remote locations, weather, and limited resourcesListen if you love production design, set decoration, indie films, Netflix originals, and craft-forward conversationswith the people who build the worlds on screen.

Veteran concept designer and Production Designer Kasra Farahani joins us in this episode to share with us his approach to working with Artists, what he looks for and how he went about crafting the look for one of this year's standout blockbusters - Disney/Marvel Studios' Fantastic Four.https://zafron.comhttps://www.instagram.com/kasfarahani/- - - - - - - - - - - - - - - - - - - - - - - - - - MENTORSHIPS NOW AVAILABLE!When the work is slow and jobs are few it's the best time to improve your skills. Learn something new and push yourself out of your comfort zone. Get ready for when the jobs come back!https://www.hendrix-design.com/mentorship- - - - - - - - - - - - - - - - - - - - - - - - - - ADP on social media:https://www.youtube.com/@artdepartmentpodcasthttps://www.instagram.com/artdepartmentpodcast/https://twitter.com/artdepartmentp1https://www.instagram.com/janurschel/https://www.instagram.com/emanshiu/- - - - - - - - - - - - - - - - - - - - - - - - - - Requests and Enquiries:artdepartmentpodcast@gmail.com

Tamara has devoted her talents as a Production Designer and Art Director to a wide range of projects spanning multiple genres, periods, and visual styles. As Art Director, Tamara worked on Crash and eXistenZ for David Cronenberg, Guillermo del Toro's Mimic, and X-Men with Oscar–winning designer John Myhre.  Tamara's feature film work as Production Designer includes: Still Mine, Priscilla, Nightmare Alley, and Frankenstein. Tamara's television credits include: Suits, The Strain, Incorporated, Star Trek: Discovery, and Guillermo del Toro's Cabinet of Curiosities.

Whether you realise it or not, you know Mick Strawn's work. He's the man behind the famous Blood Rave in "Blade", worked on "Texas Chainsaw Massacre III: Leatherface" "Nightmare on Elm Street" 3 and 4, "Buffy The Vampire Slayer" (movie, not tv show) and even "Candyman". Production Designer, Art Director, Special Effects Technician; he is the man who literally crafted our horror nightmare. And he has a new movie out that he co-directed and co-wrote. Welcome to our Nightmares, Mick Strawn!

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One of the many special things in Train Dreams, directed by Clint Bentley, is the production design. Nearly every element of each setting feels like it was just sitting there, waiting to be captured. Of course, this is not the case. It was meticulously, carefully planned and built. The Film Stage's Dan Mecca was lucky and honored to speak with Alexandra Schaller, the film's production designer, about the agonies and ecstasies of bringing Train Dreams to life, as well as some earlier, accomplished work in her career. Additional thanks to Schaller, who provided The Film Stage access to mood boards and behind-the-scenes photos from the project. Explore here: https://thefilmstage.com/train-dreams-production-designer-alexandra-schaller-on-finding-beauty-in-the-land-and-making-small-films-feel-big/

David Crank is a Richmond-based film Production Designer. He was Oscar-nominated for “News of the World” in 2021 (there's a link to that podcast below). His latest project was for “The Lost Bus (Apple TV),” which stars Matthew McConaughey as the bus driver who got a bus full of school children thru the horrific Camp Fire in 2018. We discuss: – The origins of his last name – Re-creating the interiors & exteriors – Using 7 busses for the shoot – Safety precautions for kids – Working with McConaughey – The real people who lived thru the fire – Meeting Bad Bunny LINKS David's website Link to “The Lost Bus” on Apple TV Our first podcast interview from 2022 Anthony's doc on Paul Pope My review of “The Lost Bus”

Jeffrey and I sit down and talk about how cool the Baltimore film community is, Starting out with John Waters and his crew, The Wire, Serial Mom, and much much more. Jeffrey's IMDB To see pictures and things we discussed in todays episode check out the podcast page of The Op. Please check us out on our website and on instagram and like us and review us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert      

Dylan Cole, co-production designer for Avatar: Fire and Ash, discusses his new Avatar-filled book Creating Worlds, the upcoming DisneyLand attractions based on A2 an A3, and much more! Irayo to my phenomenal co-hosts  @becomingnavi  and Arnaud Claudet from Avatar: Frontiers of Pandora

Ben Procter is an incredible human being and artist, and it was an absolute delight to have a wide-ranging, candid, hype-overload generating conversation with him. Here's to many more!Irayo to @navibyheart and @avatarcelebration event-long host @jentccyt for their phenomenal co-hosting!•Avatar is a multimedia universe centred on the first peoples of the distant moon of Pandora, a reality-based paracosm created by filmmaker, engineer and eco-activist James Cameron. Taking inspiration from, and ultimately acting as a paean to, our own Earth and its many first peoples, Avatar promotes ‘artivism' — activism through art — to inspire change in how we treat ourselves, each other, and the planet. It is one of the most successful media properties ever, and comprises films, interactive experiences, books, music, attractions, and more.•The Avatar Network is a community-run production of @thequantumyth and not affiliated with Lightstorm, Disney or 20th Century Studios.•avatar.com✨

On this special interview episode, Erin sits down with Costume Designer Kristen Kopp and Production Designer Christian W. Snell to discuss their work on the new thriller, "Violent Ends." The film is an atmospheric period revenge thriller set in rural Arkansas. It recently received the Panavision New Filmmaker Grant through the Arkansas Cinema Society, is built on tight-knit creative collaboration and deeply rooted in Southern visual and cultural texture. Consider supporting us on Patreon: ⁠https://www.patreon.com/itsafandomthingpod⁠. For links to our social media, visit our website: ⁠https://itsafandomthingpod.com/⁠ Discord: ⁠⁠⁠⁠⁠⁠⁠⁠https://discord.com/invite/7aTTCAWZRx⁠⁠⁠⁠⁠⁠⁠⁠ You can follow Fergie on TikTok: ⁠https://www.tiktok.com/@schroederandfergs⁠ Cover art by Carla Temis. Podcast logo by Erin Amos. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this special interview episode, Erin sits down with Costume Designer Kristen Kopp and Production Designer Christian W. Snell to discuss their work on the new thriller, "Violent Ends." The film is an atmospheric period revenge thriller set in rural Arkansas. It recently received the Panavision New Filmmaker Grant through the Arkansas Cinema Society, is built on tight-knit creative collaboration and deeply rooted in Southern visual and cultural texture. Consider supporting us on Patreon: ⁠https://www.patreon.com/itsafandomthingpod⁠. For links to our social media, visit our website: ⁠https://itsafandomthingpod.com/⁠ Discord: ⁠⁠⁠⁠⁠⁠⁠⁠https://discord.com/invite/7aTTCAWZRx⁠⁠⁠⁠⁠⁠⁠⁠ You can follow Fergie on TikTok: ⁠https://www.tiktok.com/@schroederandfergs⁠ Cover art by Carla Temis. Podcast logo by Erin Amos. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Cinemapodgrapher, one of our new hosts, Hannah, sits down with acclaimed production designer Sue Chan, whose work spans Shang-Chi and the Legend of the Ten Rings, Where the Crawdads Sing, Colossal, and now the highly anticipated series Murderbot. Together they explore Sue's approach to world-building, the design of the AI-driven character at the heart of Murderbot, and how her background in architecture, theatre and art direction shaped her storytelling eye. Sue opens up about balancing practical and visual effects, creating entire alien languages, and grounding futuristic sci-fi worlds in human emotion and design history. A thoughtful, inspiring conversation about collaboration, imagination and the craft of building worlds we can believe in. This podcast is proudly brought to you by our technology partners Sony Produced by Deb Van Dieren Hosted and edited by Hannah Ariotti

Another week, another legend. This time we're welcoming veteran concept artist, matter painter and production designer Dylan Cole to the podcast!https://dylancolestudio.comhttps://www.instagram.com/dylancoleart/You can catch Dylan in person on November 15th from 6-9pm for his book release party at the Gnomon school campus in LA!Make sure to pre-order his upcoming book 'Creating Worlds' here:https://www.amazon.com/Creating-Worlds-Century-Studios-Cinematic/dp/B0F5NZ47QT- - - - - - - - - - - - - - - - - - - - - - - - - - MENTORSHIPS NOW AVAILABLE!When the work is slow and jobs are few it's the best time to improve your skills. Learn something new and push yourself out of your comfort zone. Get ready for when the jobs come back!https://www.hendrix-design.com/mentorship- - - - - - - - - - - - - - - - - - - - - - - - - - ADP on social media:https://www.youtube.com/@artdepartmentpodcasthttps://www.instagram.com/artdepartmentpodcast/https://twitter.com/artdepartmentp1https://www.instagram.com/janurschel/https://www.instagram.com/emanshiu/- - - - - - - - - - - - - - - - - - - - - - - - - - Requests and Enquiries:artdepartmentpodcast@gmail.com#ADP #artdepartmentpodcast

Welcome back to the 256th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 256th episode we have a new artist interview. This particular conversation is between our Co-Artistic Producer Mackenzie Horner and the Director, Costume and Production Designer of the production Romeo Pimp which we recently covered and the Artistic Director of The King Black Box Sophie Ann Rooney. Together they unpack Sophie's creative process — from conceptualizing and designing a piece to bringing Romeo Pimp to life. The conversation dives behind the scenes into rehearsal-room stories, explores the layers of symbolism Sophie wove into the production, and delves into her reflections on what happens when some audience members miss the subtle details embedded in her work.CONTENT WARNING: This conversion about the play Romeo Pimp contains depictions, references, or implications of sexual exploitation & trafficking, grooming & psychological abuse, mental health & dissociation, substance use, violence, threats & intimidation, verbal & sexualized language themes of consent, power, and identity. If you are a victim or survivor of human trafficking, or think someone might be, please contact the Canadian Human Trafficking Hotline to be connected with support services or law enforcement in your community. The Canadian Human Trafficking Hotline can be reached 24/7 by phone at 1-833-900-1010 or online at www.canadianhumantraffickinghotline.ca.Follow Sophie Ann Rooney – Instagram: @shotbylofaFollow The King Black Box – Instagram: @thekingblackboxFollow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatreIf you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com

In this episode of Psycho-Cinematic, Vic is joined by Production Designer Matt Likely to discuss his work designing the sets on "The Institute".Follow me on IG: https://www.instagram.com/bigvicmedia?igsh=MWVvd3c5c2dyODN1ag%3D%3D&utm_source=qrFollow me on TikTok: https://www.tiktok.com/@bigvicmedia?_t=8nLBsEUZy0c&_r=1Psycho-Cinematic Merch: https://www.bigvicmedia.com/store/short-sleeve-t-shirtListen to Psycho-Cinematic on Spotify: https://open.spotify.com/show/6jeNRygaQjsC8eCJBIr2IdGuest: Matt LikelyFollow Matt on IG: https://www.instagram.com/mlikely/?hl=enWatch Matt's Behind the scenes videos: https://www.youtube.com/watch?v=vxBxXQouKN8

Next week , we're heading back to dreamland with Nightmare on Elm Street 3: Dream Warriors — but this week, we're talking with the legendary production designer and art director Mick Strawn.If you love ‘80s horror, practical effects, or behind-the-scenes movie chaos, this one's for you. Mick's been part of so many cult classics, from Runaway Train and Blade to his unforgettable work on A Nightmare on Elm Street 3 & 4.We cover it all, including:

This week, we're logging back into the Grid for Tron: Legacy — Disney's big-budget sequel that's equal parts visual feast and plot puzzle. With a soundtrack by Daft Punk, digital Jeff Bridges, and light cycles that make zero sense, this movie is definitely something to behold.We cover it all, including:

We bring you an exclusive interview with Production Designer Ben Procter who is working on the upcoming Avatar: Fire and Ash. We talk about his career, working with James Cameron, pitfalls and insecurities regardless of age etc.

Director and writer Jasmine Osean Thomas and production designer Kyle Marchiafava talk about Kandie (2025), and how various influences come together to make this unsettling horror movie. Notably, Jasmine and her team use visuals to provide backstory, with a variety of graphic, photographic, typographic, and artistic elements revealing a character's interests and passions, as well as inner demons.-Kandie (short, 2025)https://www.imdb.com/title/tt29232698/Beyond Fest 9/23-10/8Downtown Film Festival 10/15 Brooklyn Horror Film Festival 10/19-Director, Jasmine Osean Thomashttps://www.instagram.com/jasmineethomass/ -Production Designer, Kyle Marchiafavahttps://www.instagram.com/not_for_nothin_papi/ -Art Director, Elena Chudoba https://www.instagram.com/elenachudoba -Graphic Designer, Brooke Bamford https://www.instagram.com/good1bb -Other movies and shows discussed, alphabetical listAlien (1979)All the President's Men (1976)House of 1000 Corpses (2003)

Madison Braun joins me to share some insight and cool stories from behind the scenes as a Production Designer for music videos and movies. From horror movies to award winning music videos, she has carved out an incredible career and it sounds like she is just getting started. So hang out with us and have some fun and maybe learn some stuff courtesy of the super talented Madison Braun. Madison Braun www.MadisonBraun.comHer Leather Jacket - Madness In My Mind (Official Video) https://youtu.be/sy4D6VFj9fg?si=xhXvsvvFYkurG124The Midweek Howl Disclaimer: We break up the week on Wednesdays with an episode we call “The Midweek Howl" that brings a little midweek humor or guests from different walks of life to discuss various topics. Just a little midweek episode brighten your day. Enjoy!From The Shadows Podcast is a program where we seriously discuss the supernatural, the paranormal, cryptozoology as well as ufology. Anything that cannot be rationally explained has a platform for discussion here on the From The Shadows Podcast.https://www.fromtheshadowspodcast.comhttps://www.facebook.com/fromtheshadowspodcasthttps://www.instagram.com/shanegroveauthorhttps://www.instagram.com/fromtheshadowspodcast #Bigfoot #music #movies #Nashville #musicvideos #productiondesign #filmproduction

This week Tema Staig joins us to share her experience as a Production Designer, Executive Producer and founder of Women In Media   @WomenNMediaInc  |  www.womenNmedia.com

SEASON 2 - EPISODE 160 - Mark Friedberg - Production Designer In this extended (and funny) episode of the Team Deakins Podcast, we speak with production designer Mark Friedberg (CAUGHT STEALING, JOKER, THE UNDERGROUND RAILROAD). A native New Yorker, it wasn't until returning to the city after Jack Kerouac-ing around the country that Mark (and his dog) first found work in the film industry as a driver for the Woody Allen production team. Mark was eventually let out of the van, and, throughout our conversation, he reveals how he thought through many of the challenges in his long and impressive career as a designer. Mark is also a staple in Barry Jenkins' (Season 2, Episode 156) stable of collaborators, and we learn how Mark's daughter convinced her father to break his own rules to initially meet with the director. We also discuss technology's place in Mark's design process, and he shares why he rehired the millennial gamers who built MUFASA's Africa to digitally visualize the sets of JOKER: FOLIE À DEUX before physically constructing them.  - Recommended Viewing: THE ICE STORM - This episode is sponsored by Sandstorm & Aputure

How do you design a world that honors Hawaiian history while telling a story on a global stage? For Production Designer Jean-François Campeau, the answer was equal parts creativity, cultural respect, and collaboration. This week on Below the Line, Skid is joined by Jean-François “JF” Campeau, Production Designer of Chief of War, the Apple TV+ historical drama starring Jason Momoa. Two special guests from the Smithsonian Institution add their perspectives: Kalewa Correa, Curator of Hawaiʻi and the Pacific at the Smithsonian Asian Pacific American Center, and Halena Kapuni-Reynolds, Associate Curator of Native Hawaiian History and Culture at the National Museum of the American Indian. We cover: JF's first reaction to the project — both inspired and intimidated by the cultural weight of the story Research at the Bishop Museum and working closely with Hawaiian and Māori cultural advisors to ground the sets in authenticity Constructing major builds like temples, strongholds, and the bone tower — with blessings and protocols woven into the process Carving sacred objects from authentic materials, including shipping an ʻōhiʻa tree from Hawai‘i to New Zealand for sculpting Collaborating with Pacific artisans on woven mats, sails, and canoes that carried both cultural and cinematic weight Blending Hawaiian and New Zealand landscapes, balancing cultural similarities with visual continuity challenges Jason Momoa's insistence on filming battle sequences on real Hawaiian lava fields — including a shoot delayed by Mauna Loa's eruption Capturing the gravity of historically significant moments, like the Olowalu massacre carried out under Captain Simon Metcalfe, with sensitivity to sacred ground JF's personal reflections on how the project changed him, and the values he carried forward from working alongside Native Hawaiian and Māori communities The conversation also touches on recommended resources for further learning, including Ke Kumu Aupuni: The Foundation of Hawaiian Nationhood by Samuel Kamaka and Fragments of Hawaiian History by John Papa Iʻi, suggested by our Smithsonian co-hosts. What emerges is a portrait of a production designer whose work went beyond craft to embrace cultural exchange — designing a world that feels both epic and deeply rooted in respect.

We're diving into world building for Animation with Production Designer and Artist Jason Scheier.

Jeannine's film work includes: Tender Mercies, Maria's Lovers, The Bridges Of Madison County, L.A. Confidential, Pleasantville, Snow Falling On Cedars, Seabiscuit, and The Good Shepherd. Jeannine has been nominated for four Oscars and five Art Directors Guild Awards and has won two ADG Awards including a Lifetime Achievement Award. Jeannine is an active member of the Production Designers Collective (PDC).

Production Designer Beth Mickle joins Kim Wannop on Decorating Pages to reveal the artistry behind James Gunn's Superman. From constructing 200+ glowing Fortress of Solitude crystals, to designing the Daily Planet with bold orange tones, to uncovering the Hall of Justice location—Beth gives an insider's look at the craftsmanship, nostalgia, and innovation that shaped this iconic reboot.Listeners will hear about Easter eggs hidden throughout Metropolis, the collaboration with Set Decorator Rosemary Brandenburg, and how design choices gave the film its timeless, emotional feel.Perfect for fans of film design, Superman lore, and anyone who loves learning how production design brings stories to life.

Explore the dark and fascinating world of Gotham City in this personal chat with Kalina Ivanov, Production Designer of The Penguin. Kalina shares how she designed authentic, gritty spaces that elevate Colin Farrell's iconic villain portrayal. Hear insider details about Gotham's streets, villainous lairs, and Kalina's creative storytelling techniques. We also talk about the Production Design Collective which she cofounded and the  International Production Design Week, scheduled for October 17th - 26th, 2025. Essential listening for fans of production design, film sets, and immersive storytelling. Subscribe now for more inspiring episodes of Decorating Pages!

Today I'm joined by Julie Berghoff. Julie is a Production Designer who won the Emmy and the Art Directors Guild award for The Handmaid's Tale. She was also nominated for excellence in production design on Electric Dreams based on the short stories of Philip K. Dick. Her first feature film was Saw, directed by James Wan which earned over 103M. In 2005, she segued into comedy, designing the Oscar and Golden Globe Nominated Film, The Kids Are Alright and in 2015 Emmy Winner, Olive Kitteridge both directed by Lisa Cholodenko. I had her on the show today to discuss her Emmy-nominated work on Apple TV+ The Studio.