floating mountains, lush jungles, and cascading
waterfalls fly and gallop some of the most imaginative
and gorgeous airborne and earthbound creatures
ever seen on the screen. Using the most advanced
cinematic technology to date—including Cameron’s
Reality Camera System (which combines two cam-
eras in a single camera body to create a heightened
depth perception for the viewer)—the motion cap-
ture system, and other innovative visual effects,
the designers created a world so awe-inspiring that
their colleagues awarded them the Oscar for Best
Art Direction.
The Production Designer
Generally one of the first collaborators that a direc-
tor hires, the production designerworks closely
with the director, as well as with the director of
photography, in visualizing the movie that will
appear on the screen. The production designer is
both an artist and an executive, responsible for the
overall design concept, the look of the movie—as
well as individual sets, locations, furnishings,
props, and costumes—and for supervising the
heads of the many departments that create that
look. These departments include
>art (the design personnel responsible for
sketching out the movie’s look, including
sketch artists, painters, and computer-
graphics specialists)
>costume design and construction
>hairstyling
>makeup
>wardrobe (maintaining the costumes and
having them ready for each day’s shooting)
>location (personnel responsible for finding
appropriate locations, for contracting for
their use, and for coordinating the logistics
necessary for transporting the cast and crew
back and forth between the studio and the
locations)
>properties (personnel responsible for finding
the right piece of furniture or object for a
movie, either from a studio’s own resourcesor from specialized outside firms that supply
properties)
>carpentry
>set construction and decoration
>greenery (real or artificial greenery, includ-
ing grass, trees, shrubs, and flowers)
>transportation (supplying the vehicles used
in the film)
>visual effects (digital postproduction effects)
>special effects (mechanical effects and
in-camera optical effects created during
production)During shooting, the production designer also
works closely with the camera and lighting crews.
The title production designeris a relatively new
one. In the classical Hollywood studio system of the
1930s, each studio had an art department headed
by an executive (called the art director) who, in
addition to creating and maintaining the studio’s
distinctive visual style, took full screen credit and
any awards the film received for art direction. The
art department collaborated with the other depart-
ments that bore any responsibility for a film’s visual
look. The supervising art director, though nomi-
nally in charge of designing all the studio’s films, in
fact assigned an individual art director to each
movie. Most art directors were trained in drafting
or architecture, and this brought to their work a
fundamental understanding of how to draw and
how to construct a building. In addition to having a
thorough knowledge of architecture and design, art
directors were familiar with decorative and cos-
tume styles of major historical periods and were
acquainted with all aspects of film production. As a
result, the most accomplished art directors worked
closely with film directors in a mutually influential
and productive atmosphere.^4180 CHAPTER 5 MISE-EN-SCÈNE
(^4) Despite their importance to the production process, most art
directors worked in relative obscurity. Cedric Gibbons, super-
vising art director at MGM for thirty-two years, was the one
art director for much of the twentieth century that the gen-
eral public knew by name, not only because the quality of
MGM’s style was so high but also because he was nominated
forty times for the Academy Award for Art Direction, an
honor he won eleven times.