The Furniture: Wednesday Addams Sets Thanksgiving on Fire

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Happy Thanksgiving! In three days, Americans will gather together to cook, feast and argue. The acrimonious presidential election has launched a multitude of think pieces on the subject. How do you talk to your relatives who voted differently than you? The classic stereotype of the young, liberal, usually-white urbanite going back to conservative “middle america” for turkey is certainly more fraught this year than it’s ever been. Does that scenario now come with the moral obligation to speak up?

This may seem like a weird way to begin a column about Addams Family Values, a comedy sequel without an overt political message. But there's some Thanksgiving advice to be found in the Oscar-nominated design of legendary production designer Ken Adam (The Spy Who Loved Me) and set decorator Marvin March (Annie). Beyond the social satire of the early 1990s ("But Debbie...pastels?"), a blunt clash of historical narratives is built into the sets for Camp Chippewa...

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Live By Night's All-Star Team

One of the advantages of opening extremely late -- though we hate to encourage it! -- is that you're fresh in the minds of voters when ballots arrive. With a film like Live By Night, which would probably not be a player next year if it had opened first quarter as originally planned (it's doing a qualifying week at Christmas) that could mean multiple nominations for its team. Ben Affleck is no fool and lined up a murderer's row of behind-the-scenes giants. Here are the most likely ways that it could affect the Oscar race...

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The Furniture: How Subtly Is Paris Burning? (Not Very)

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

This week marks 50 years since the release of Is Paris Burning? (not to be confused with documentary classic Paris is Burning) an epic that hasn’t quite stood the test of time. In the tradition of The Longest Day, it harnesses a cast of thousands to tell the story of a single, crucial moment of World War Two: The liberation of Paris. French stars like Jean-Paul Belmondo and Alain Delon take roles in the Resistance, while the likes of Kirk Douglas and Glenn Ford play American generals. There are cameos from Simone Signoret, George Chakiris and Anthony Perkins, to name only a few.

Directed by René Clément with a script by Gore Vidal and Francis Ford Coppola, you’d think it would be more popular. Still, it’s worth revisiting, and not only for its two Oscar nominations (art direction and cinematography).The film’s visual ambition is often astonishing. Its commitment to accuracy caused at least one unlucky Parisian passerby that the Wehrmacht had actually returned. Everything is bold, nothing subtle.

Production designer Willy Holt, an American who mostly worked in France, later worked on Julia and Au revoir les enfants. Art director Marc Frederix designed for films as disparate as Moonraker and Love and Death, while his colleague Pierre Gufroy won an Oscar for Roman Polanski’s Tess. Clearly, the talented group was more than up to the task of winding back the clock 20 years on one of the world’s most recognizable cities.

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The Furniture: Terrestrial Fun in "Star Trek Beyond"

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Early in Star Trek Beyond, screenwriters Simon Pegg and Doug Jung wedge a dumb joke into the voice over narration of Captain Kirk (Chris Pine). He has led the Enterprise and its crew across the galaxy to fulfill an endless series of missions, many of them quite similar. His life, he explains, has begun to feel a bit “episodic.” Very funny.

Yet Star Trek Beyond is, in its own way, a self-contained episode of an ongoing series. The bulk of the film takes place on a single planet. No time is spent on earth, nor is the home world at any significant risk. There is no massive cross-galaxy conflict. The story is given a satisfying conclusion, without participating in a grand trilogy or teasing a far-off sequel. This isn’t Star Wars or, for that matter, the Marvel Cinematic Universe.

This means that the production design team, not tasked with a universe of diverse locations, focused on on just a couple of planets...

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The Furniture: Feasts of Flesh in Pan's Labyrinth

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Pan’s Labyrinth, like most of Guillermo del Toro’s films, is busy with visual imagination. There are monsters and fairies, though it’s not always certain which is which. There are dramatic colors and haunted shadows, which push even the more terrestrial sequences toward the fantastical. And there are little flourishes, not all of them thanks to the digital effects team.

In fact, physicality is among the film’s greatest strengths. Sets were built for both Ofelia’s dream world and the all-too-real Spanish Civil War narrative that frames them. Del Toro doesn’t rely on either digital backgrounds or pre-existing locations. Instead, he leans on the uncanny power of tangible design, like these Harryhausen-like models that stand in for an underground kingdom.

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