How do you plan and prepare for production? How do you know what will work
best?
Nick- It’s really important to know the script as well as possible.On the first read , I try and stay clear of distractions as much as possible, I have a note book handy and I jot down first
thoughts, sometimes about colour, or a note on a prop, set dressing ideas, movie references. I try not to dwell on too many specifics at this time but I do think that its’ really
important to keep a track of early instincts and ideas. I’ll often do very fast google search if I have an image in mind, again .. I try to not get stuck on something at this early stage
After a first thorough read I like to take a break and let the story and setting resonate for a moment.
On the second read I tend to work my way through the script in a much more methodical way, building more imagery that will be come a scrap book of visual ideas, This will
eventually become the basis of a “look book”, ahead of the set design phase.
On films such as Insidious the pre-production time is often very short and almost immediately I need to share visuals and thoughts with other crew members who are
starting on the project. I find that once I have built a visual look book I’m ready to have meetings and let other
ideas filter in. There is no exact science to film making and you have to keep an open mind to change but I have found that these first few reads of the script require a lot of clear
focus.
Do you have any advice or words of wisdom for people who want to get into the
industry?
Nick- I think persistence is the key word in getting into the industry. It’s really important to keep networking, and following up on emails and messages, I often have people contact me looking for work in the art department but only few will follow up with a second email.
Timing is everything sometimes people contact you at precisely the right time when you’re starting up a film but so often that’s not the case so it’s good check in often and also to ask for advice.
Do you have a favorite project so far that you have worked on?
Nick- I think my favourite project was Horror comedy , Ash Vs Evil Dead which was a television series for Starz based on the original Evil Dead films.
This was my first production design job for a studio network, I had previously been art directing and this was the perfect project to venture out of my comfort zone.
The Director of the first episode was directed by Sam Raimi and it was brilliant project, and highly challenging. I learned so much and am forever grateful for the opportunity.The unique thing about this series as it combined the comic genius of Bruce Cambell’s character Ash Williams with classic horror it was huge amount of fun, One of the great opportunities this offered was to go to Michigan where the series was set. As the production was going to be
entirely filmed in Auckland New Zealand this became an opportunity for me to see the huge benefits of photo references form real locations. The information I obtained from a short location scout set our art department up for the entire season.
To me… horror is versatile and it covers a lot of subjects. How do you feel about horror movies?
Nick- Horror movies are a real test of collaboration between all departments, there are so many elements that don’t exist on a traditional drama.
The world building phase is just the beginning, not only are we as an art department building a robust and visually interesting world but on top of this there are a lot of practical considerations where we are working with the director, DOP alongside the stunt, spfx departments to build complex action set pieces. The set builds are often required to be extremely robust and adaptable.
This makes for a really challenging and interesting process.No two films are the same and as an art department we are always learning new skills.
What was it like working with everyone on Insidious?
Nick- We had an incredible crew on Insidious. This was my first time working in Melbourne so it was all new to me working at the Docklands studios and the first time working with this art team.
I had worked with Cinematographer Dave Garbett many times before ,(including Ash vs Evil Dead and Lee Cronin’s The Mummy.”)
Dave assembled a really strong team and many of the crew had worked together on other
projects which really added to the efficiency on set on a daily basis. I loved working in Melbourne and the entire crew worked really hard to bring Jacob’s script to life. The Makeup and Costume departments delivered incredible character designs and detailing.
As a production it helped that we had the use of a giant sound stage and were able to build many sets giving the production a lot of flexibly in the schedule. Set construction was handled by Grant Slotboom at “Illusions,” his expert team allowed us to build efficiently.
Being able to prefabricate some elements off site at his facility allowed us to meet the demanding prep schedule and limited stage access.
Supervising art Director Kate Saunders assembled a brilliant local art department, I’m extremely grateful to the entire team for delivering on such a constantly high level.
Insidious ended up being a film I am incredibly proud of, the build and finishes, the detailed and layered set dressing and the carefully considered props gave the film a really
high quietly end result. Credit to the team!
What are you working on next?
Nick- We have just wrapped on a Environmental horror comedy film titled “Hivemind” with Director Ciaran Foy which filmed in Dublin for Amazon and Thunder road productions. The film is set in Upstate New York and involves a massive swarm of deadly wasps, staring Samara Weaving, (who I have worked with before on Ash VS Evil Dead and Guns Akimbo) and Nicholas Braun who is a brilliant actor and has brought so much to the film.
I’m now in early prep on Jacob Chases next project , Sleepover also with Blumhouse pictures. It’s a really brilliant and terrifying premise and script. A full tilt horror experience!
