March 26, 2000 |
Eve Stewart, "Topsy-Turvy" * For this period film, every detail was covered, right down to the unseen train ticket stubs. (Don't mention the typewriter.) * British art director Eve Stewart credits her "rather obsessive attention to detail" for helping furnish the lavish Victorian surroundings in Mike Leigh's "Topsy-Turvy." How obsessive?
December 5, 1999 |
The moon glowed blue-white-silver in a crisp, black sky. Lighting designer Kathi O'Donohue caught sight of it while chatting outside a Venice theater, and the colors knocked her out. "When I see something like that, I think, 'How can I re-create that onstage?' " she said. O'Donohue's ability to reproduce such visions--using bright lights, sheets of colored gel and patterns cut out of thin metal plates--has made her one of the most sought-after designers in Los Angeles.
November 7, 1999 |
Richard Hoover, production designer for the Depression-era drama "Cradle Will Rock" about the staging of an ill-fated musical, began his career in theater. In fact, he met "Cradle" director Tim Robbins in a 1989 L.A. theater production of Bertolt Brecht's "The Good Woman of Setzuan" and has worked with him on several projects since, including "Bob Roberts" and "Dead Man Walking." But "Cradle's" visual style is perhaps the most dramatic of Hoover's films.
October 5, 1999 |
Designer Peter Pabst can't remember where he got the crazy idea to blanket the stage for Pina Bausch's Tanztheater Wuppertal production "Nelken" (Carnations), in an extravagant bed of 10,000 flowers. "I can never remember where the ideas came from," says the 56-year-old German designer in a telephone interview from his house in northern Italy. "This is one of the most illegal questions," he adds with a laugh, his English flavored with a German accent.
September 10, 1999 |
It's nine days before the 51st annual Emmy Awards and the stage of the Shrine Auditorium is a hubbub of activity. There's a cacophony of hammers and drills and shouts of workmen who are busy constructing the sleek white and gray set designed by Roy Christopher. But the veteran production designer seems as cool as a cucumber sitting where the audience will sit Sunday night, watching his latest creation slowly take shape. And for good reason.
April 4, 1999 |
After two or three weekends of touring tract builders' furnished models, a certain truth emerges: For all but the highest-priced houses, the standard house offered at the base price is pretty basic. Most of the embellishments shown in the models are extra. Unless you're going for the strictly utilitarian look, you'll want to get some of these optional extras. The question is, which ones? Do you go for the artifacts, such as the soaking tub with the whirlpool jets?
March 21, 1999 |
Will any of the winners on stage at the Dorothy Chandler Pavilion tonight thank Roy Christopher? They should. Without him, there wouldn't be a stage. Christopher, 55, is the production designer of the Academy Awards show for a record 12th time. If that's not enough, he also does the Emmys (where he's won five awards) and Tonys, as well as the sitcoms "Frasier" and "Becker." MILLENNIAL: "This is the last Oscars show of the century--but then it's the last everything of the century.