Production Design Interview: Building the World(s) of "Room"

Once you've seen Room, you're unlikely to forget "Room". To Jack (Jacob Tremblay) "Room" is the entire world. He names everything in it and says hello each morning to the only (inanimate) friends he has ever known. The space had to be tight, visually memorable, and emotionally specific and you had to have cameras function inside it. A tall order. To design Room, and the world outside of it in Room, a Globe nominee for Best Picture, Lenny Abrahamson entrusted the ingeniously creative production designer Ethan Tobman who had previously worked in low profile independent film but attracted much more attention for recent high profile work for music superstars like Beyonce, Eminem and Madonna.

We had the pleasure of talking to Tobman about his process, his time in music video, and how he got emotionally inside and outside of that tiny space to design it. 

NATHANIEL R: Room has such a memorably specific central set, how do you even know where to begin on a project like this?

ETHAN TOBMAN: The way I approach any project, but specifically Room, is to read the script and put it away for a week and think about the things that inspired me about it. The research begins immediately, but I need to allow myself to think pretty abstractly about some of the emotional and thematic concepts. [More...]

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"CAROL" IS HERE !

This weekend is an important one for a myriad of reasons: Quality Best Picture candidates Brooklyn and Spotlight are expanding; The Hunger Games is wrapping up; two foreign Oscar submissions are arriving (Lithuania's lesbian romance Summer of Sangaille and France's must-see Mustang); the all star remake of the Oscar-winning Argentinian film The Secret in Their Eyes is upon us; People are prepping their Thanksgiving festivities. But all of those reasons pale in comparison to the big news:

Todd Haynes' exquisite 50s romantic drama Carol starring Cate Blanchett & Rooney Mara is now in theaters!

Sadly Carol is only on 4 screens which means many readers will have something of a wait to experience its glory. We'll hold off on going Carol-mad just yet though we're planning a whole Carol week (for real, DATES TBA) but we'll wait until more of you have seen it so we can get detailed.

But for now a little silly stanning to celebrate. You see, whilst I was in Los Angeles I was able to interview five key members of Carol's mega-talented team. As something of a goof about my own obsession but a goof that spiralled out of control and into actual reality I started each Carol interview with the same question and here are the actual answers...

NATHANIEL R: WHY ARE YOU SUCH A GENIUS?

Affonso Gonçalves, Editor: Sure. Let's start with that. [Laughter] I don't get called that - I'm going to tell my mom.

Judy Becker, Production Designer: Well, the question is 'why is Todd such a genius?' Todd is a genius.

Phyllis Nagy, Screenwriter: Practice. [Laughter]

Carter Burwell, Composer: Um... [long silence]

And we conclude with Sandy Powell the much lauded costume giant who has three Oscars to show for it... but curiously none from her Todd Haynes' collaborations.

NathanielR: I started this as a joke about my Carol obsession this morning but I've literally asked everyone why they're a genius today. So...

Sandy Powell: [Interrupting] You've asked every single person?

Nathaniel: Yes.

Sandy: Has anyone admitted to being a genius?

Nathaniel R: Phyllis.

Sandy: [LAUGHTER] I can say why everyone else is a genius but I don't think I can say why I am!

Full Carol interviews are coming. Stay tuned...

This is my fav outfit Cate wears as CAROL and also Sandy Powell’s favorite. (Our interview soon!) pic.twitter.com/BYm9HU7vYV

— Nathaniel Rogers (@nathanielr) November 19, 2015

Take a Trip Inside "Room"

Available to tour this weekend - if you're in Los Angeles, that is, and attending the 2:10 showing at The Landmark - is a complete recreation of the set from Room.

Perhaps a bit eerie for some, the tour provides an inventive way to experience the attention to detail given to a set as crucial to its film's narrative as the characters that inhabited it. Production designer Ethan Tobman crafted the space for maximum visual accessability with removable wall and floor tiles to nestle the camera while keeping the seclusion and intimacy uncompromised for the actors. Also inside will be the smaller pieces created to lend texture to Ma and Jack's tiny world: artwork, toys, props, and set detail work.

Contemporary production design goes far too ignored with the Academy and the tendancy is to favor oppulent period or imaginative fantasy genres. If the goal is to believably create the world and environment of a film, we don't have to stretch to find awards-worthy work - Skyfall, Synecdoche, New York, the entire David Fincher filmography. The tour is a shrewd way to hopefully stir some conversation for Tobman and shake up the kind of work honored by the branch. What other modern examples are worth considering?

Will Mockingjay Part 2 Change The Hunger Games' Disappointing Oscar History

If next January comes around and brings no Oscar nominations for The Hunger Games: Mockingjay – Part 2 then it will have the unenviable tally of zero nominations from four films. Only The Twilight Saga, Mission: Impossible and Fast and the Furious franchises can claim such a strike rate. There was a time when every film that made over $200 at the American box-office could claim at least one nomination - even Austin Powers: The Spy Who Shagged Me! But since Mission: Impossible II in 2000, that has no longer been the case. Still, for Lionsgate’s hugely successful Hunger Games to bow out with nary a single nomination to its name is genuinely surprising.

What’s more, these films are hardly wanting for acclaim and nomination-worthy elements. Salute (or click) for more!

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Why Isn't 'Cinderella' an Oscar Contender?

Glenn here.

You will no doubt have read – or least seen the headlines – that people are saying that Ridley Scott’s The Martian should be taken very, very seriously as a Best Picture contender. I’ve even seen people claiming it could win, which seems awfully bullish given its hastily rising status in Oscar circles is due almost entirely to the film’s overwhelming success at the box office in the face of a glut of underperforming Oscar players like Steve Jobs. But amid this new wind of blockbuster excitement and the snickers at (contractually obligated) Oscar campaigns for other big-budget, uber-successful movies, there’s one film that has so far gone under the radar in the conversation and ought to be taken far more seriously than it likely will be.

Yes, I mean Cinderella... more after the jump

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