Thu, 05 Dec 2019 10:53:04 GMT
Together Forever film trailer
Q> How do you approach a set design brief?
Sigita> It all depends on the story. If the subject is good, I tend to be able to visualise what the film should look like straight away. I always put a lot of effort into studying the theme very carefully,then I gather as much information as possible from literature, memoirs, archives and visual material.
When I was preparing for the feature film, Together Forever, I even went to observe a couple of hospital surgeries because the main character of the film was an anaesthesiologist. It helped me avoid silly mistakes when shooting the hospital scenes.
Q> You've worked on both film and theatre design. Do they differ in any way or is it a very similar process?
Sigita> The main process in film and theatre is similar. It all starts with a script and the purpose for both is the same: use design to help the storytelling. Having said that, in film, the role of production design is to stay invisible, while staying realistic - unless the script says otherwise. Whereas in theatre the image you’ve created can become a dominant axis or an abstract poetry; a dream. Maybe the biggest difference between the two is the pace of time. In theatre, the pace is a lot slower. There is no second take and the performance can differ with every show.
Zorba the Greek
Q> Where do you draw your inspiration from?
Sigita> I look for inspiration in the aesthetics of everyday boredom; in the festivities of the holidays; in theatre, music, literature and art. The most inspiring, calming and exciting inspirations for me are operas but sometimes it’s having quiet time with a book.
Q> What makes a set stand out to you?
Sigita> For me, a good film is when the viewer does not think about how the set was made. A good film needs a good story and a good director to tell it, as without them even the most beautiful cast and production design is not gonna save it. I sometimes joke that if you can have a good script, you can shoot it on a blank wall or in a single room. The same goes for production design. The less visible it is and the more it blends into the story, the better. The last time I experienced this synergy was when watching The Joker. I always experience it watching films by Andrey Zvyagintsev. He is my all time favourite.
Q> You've done quite a bit of work with Kinder Bueno, what's it like working with them?
Sigita> I have a great working relationship with the brand and have collaborated on several of their spots. I love the comedy element to the series I worked on and it’s always a great opportunity to work with director Ben Gregor and DOP Danny Cohen to bring our ideas to life.
Kinder Bueno - La Maison
Q> What do you think makes a good production designer?
Sigita> A good production designer is someone who is able to help tell the story through images. Someone able to see the full picture as well as be attentive to detail.
Q> What is your favourite aspect about being a production designer?
Sigita> You never do the same thing twice. You always have the chance to expand your knowledge by exploring, researching and thinking.
Q> How did the IAD commercial with Wanda Productions come to life? It must have been a pretty fun set to design!
Sigita> It was! Quite cathartic to be given free reign to break everything. I enjoyed the spontaneous element to the design, creating the look organically through the process of making a mess.
Still from IAD - Vous Avez Un Nouveau Messag
IAD - Vous Avez Un Nouveau Message
Q> What one piece of advice would you give to an aspiring set designer?
Sigita> My advice is simple: never stop being curious.view more - Trends and InsightMagic, Thu, 05 Dec 2019 10:53:04 GMT