How's that for a headline? All that is promised shall be delivered.
I recently interviewed production designer Eve Stewart, currently enjoying her second Oscar nomination for The King's Speech, and it was a completely delightful experience. Some of her spirit must have rubbed off on The King's Speech, which is, whether one is rooting for it at the Oscars or not, a much livelier viewing experience than what anyone might have expected reading a plot description months ago. "If you just hear about it on paper, it sounds..." I begin to admit after becoming acquainted.
"...a bit boring?" she finishes my thought for me, matter of factly, with no hint of offense. "In the end i just thought 'GOOD GOD!' people are going to be looking at this room for 20 minutes. It better be interesting."
And so it went throughout the interview with Eve Stewart's merry recollections of The King's Speech, the intense work on Mike Leigh films, and her excitement about a new HBO project coming up. Here at the Film Experience we like to begin interviews with behind the scenes movie players by asking them to describe their job.
Moviegoers, including we film bloggers, have differing and sometimes spotty ideas about what each of a film's players bring to the table.
Nathaniel: When I think of production designers and art direction I think of people maybe looking at color palettes, approving sets, looking for props, talking intently to the costume designers. How would you describe what it is that you do?
Eve Stewart: I would describe my job as to support the story visually and to make sure that the world in which the story is set comes to life and creates a 'Bubble of Belief' around the characters which kind of transports the viewer with them.
Nathaniel: When it comes down to the nitty gritty like set constructions and prop work. Do you have a bunch of minions that you're bossing around?
Stewart: Oh I'm really hands on. My team is very small. I did painting at the Royal College of Art. I did opera and stuff like that so I didn't really do the normal film route. So the people I work with are sculptors, painters, fine artists that I've worked with since I was young and they all have a massive role to play.
Nathaniel: Do costume designers report to you since the visual look is your job?
Stewart: They don't report to me but i'm really collaborative. In the end you are responsible for everything that is seen, all that gets photographed, so you have to make sure it all pulls together. I mean, It's terrible if you're designing a building and it doesn't look like the people live there because you haven't communicated with the costume designer. And also with color, you have to work together and compliment each other.
Nathaniel: The obvious standout set to me is the speech therapist's office, which I like to describe as a "dilapidated diorama"
Stewart: (laughs) Good!
Nathaniel: I love that it feels a bit like a stage. I mean part of that is the way it's shot but it pulls out for us that Logue (Geoffrey Rush) is a theater person at heart.
read the whole interview for more on The King's Speech, her Mike Leigh movies and Marlene Dietrich for HBO after the jump
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Wednesday, February 16, 2011 at 4:30PM 
A big "thank you" to readers who commented on the recent spate of interviews here at The Film Experience. We don't do too many of them but you've been quite complimentary about the ones you do get. If time allows and other variables improve this year we'll do more for 2011. But in case you missed any of the interviews covering the 2010 film year, here's the rundown:
Beloveds: Juliette, Patty, God and Kiki
