Creating Cinematic Worlds: A Conversation with Alex McDowell, Lisa Jackson, and Boris Hars-Tschachotin
Archival Program Information
For current Research Institute events, please see The Getty Event Calendar
For current Research Institute events, please see The Getty Event Calendar
Tuesday, June 8, 2010
7:00–8:30 p.m.
Harold M. Williams Auditorium, The Getty Center (Please note new location)
Admission is free. Reservations required.
7:00–8:30 p.m.
Harold M. Williams Auditorium, The Getty Center (Please note new location)
Admission is free. Reservations required.
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Production designers shape the aesthetics of film. But the artistic process of creating cinematic space has largely been overlooked in film studies. This panel discussion explores the process of production design—the transformation of ideas from paper to set to film. Panelists will chart these transformations and examine the essential role of visual research.
Alex McDowell (production designer for Fight Club [1999], The Terminal [2004], Tim Burton's Corpse Bride [2005], and Watchmen [2009], among others) has created some of the most visually stunning production designs of his generation, including the futuristic yet oddly realistic universe of Washington, D.C., 50 years in the future for Minority Report (2002). McDowell will present the so-called 2054 Bible he devised and revised for the science-fictional world and the creation of the interface techniques featured in the film—the wall-sized displays, gesture recognition, and seamless convergence of information.
With a formidable résumé that includes Hulk (2003) and Notorious (2009), veteran production researcher Lisa Jackson (co-head of the Twentieth Century Fox Research Library) has supplied visual research for a wide range of television and film projects. Jackson will share insights into the Research Library's purpose and how its unique organizational structure supports visual artists and production designers. Presenting examples of research from films such as the 1951 classic The Day the Earth Stood Still, she will discuss how materials from art, architecture, and pop culture are used to inform and inspire the creative process.
Boris Hars-Tschachotin (Getty Fellow, filmmaker, art historian), the panel's organizer and moderator, will discuss the War Room in Stanley Kubrick's political satire Dr. Strangelove (1964). Hars-Tschachotin will provide an extensive insider's view into the fascinating creative process behind the iconic cinematic space, specifically through the expressionistic drawings made by the film's production designer, Sir Ken Adam.
Alex McDowell (production designer for Fight Club [1999], The Terminal [2004], Tim Burton's Corpse Bride [2005], and Watchmen [2009], among others) has created some of the most visually stunning production designs of his generation, including the futuristic yet oddly realistic universe of Washington, D.C., 50 years in the future for Minority Report (2002). McDowell will present the so-called 2054 Bible he devised and revised for the science-fictional world and the creation of the interface techniques featured in the film—the wall-sized displays, gesture recognition, and seamless convergence of information.
With a formidable résumé that includes Hulk (2003) and Notorious (2009), veteran production researcher Lisa Jackson (co-head of the Twentieth Century Fox Research Library) has supplied visual research for a wide range of television and film projects. Jackson will share insights into the Research Library's purpose and how its unique organizational structure supports visual artists and production designers. Presenting examples of research from films such as the 1951 classic The Day the Earth Stood Still, she will discuss how materials from art, architecture, and pop culture are used to inform and inspire the creative process.
Boris Hars-Tschachotin (Getty Fellow, filmmaker, art historian), the panel's organizer and moderator, will discuss the War Room in Stanley Kubrick's political satire Dr. Strangelove (1964). Hars-Tschachotin will provide an extensive insider's view into the fascinating creative process behind the iconic cinematic space, specifically through the expressionistic drawings made by the film's production designer, Sir Ken Adam.
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