What do you think the role of production designers is in making a film?
By the Screencraft the definition for production design is: Creating mood, atmosphere, and context through the expressive use of objects, shapes, and colours. But what does that mean? This means that production designers are responsible for shaping the visual identity of a film, ensuring that every element on screen contributes to the story, themes, and emotions. They work closely with directors, cinematographers, and costume designers to build a world that feels authentic and immersive, whether it’s a historically accurate period, a futuristic sci-fi setting, or a dreamlike fantasy realm. Through carefully chosen props, set designs, colour palettes, and textures, production designers create a sense of place that enhances the storytelling. A cluttered, dimly lit room can convey a character’s inner chaos, while a sterile, minimalist space can suggest loneliness or oppression. Even the smallest details, such as the choice of wallpaper or the placement of furniture, can subtly inform the audience about a character’s background, social status, or emotional state. Beyond aesthetics, production designers also ensure the consistency and coherence of a film’s visual language. They set rules for how an environment should look and feel, guiding set construction, location selection, and art direction to maintain a consistent style. Their work plays a crucial role in establishing a tone - whether it’s the rich, warm hues of a romantic drama, the gritty textures of a crime thriller, or the exaggerated, surreal shapes of a fantasy world. At their core, production designers are world builders. They transform the words in the script into tangible, visually stunning spaces that support the narrative, evoke emotions, and transport the audience to the heart of the film’s universe.
What do you enjoy most about your job?
The most enjoyable for me is the variety. Every film is made with a different approach, places a different emphasis, and operates with different mechanisms of effects. Therefore, although we follow the same protocols, each work presents new challenges.
Why is it important to maintain a film festival like the Alexandre Trauner ART/Film Festival that rewards production designers?
It's good that there is a festival like ATTAF, which is primarily dedicated to production design, because it gives prestige to our profession, and draws attention to the work without which a film is unimaginable today. Not to mention that it may also encourage young people to get involved in this field, if nothing else, so that they can discover the visual layers of the films.
Can you share a short story about a shoot where you had a memorable experience working as as production designer?
For me, the most memorable moments were when I learned something. When I started as an art director, I worked closely with famous production designers, who taught you seemingly small tricks that you can incorporate into your skill set. These tricks are guarded by everyone, just like magicians guard their tricks because they are practically their know-how. I worked with Kevin Phipps on a commercial, and because he was happy with me, he gave me a fantastic gift. He showed me a colour on an English colour scale (I can't name it) that works incredibly universally, suitable for any atmosphere, regardless of whether it is cheerful or depressing, old or new, poor or rich, it works! It goes with all other colours, and with lighting, it can be striking or subdued. Since then, when I have had a dilemma about colours, I use this colour very often.