ADG Perspective

January-February 2018

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16 P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 8 contributors Designing sets on soundstages and bringing locations to life in major cities and random villages on every continent is the way STEFANIA CELLA has spent the last 20 years. Born and raised in Milan, Italy, and educated in theater and art history, Cella developed a design style highly influenced by the interplay of light, shadow and color. In Cella's sunny studio library, tucked away in the Hollywood Hills, she has researched, prepared and found inspiration for more than 20 films. Some of those include works with Nick Cassavetes, John Q, Barry Levinson, Man of the Year, What Just Happened, and Paolo Sorrentino, This Must Be the Place, and The Great Beauty, which brought her the best designer award, the "David di Donatello" in Italy 2014. She followed this achievement with her design for 2015's Black Mass. She has two projects heading to theaters in the next few months—Downsizing, directed by Alexander Payne, and White Boy Rick, directed by Yann Demage. She recently wrapped her third collaboration with Paolo Sorrentino—LORO. Many people hold a stereotypical view of someone who grew up in a small town, but PAUL AUSTERBERRY had parents who were adventurers. They traveled worldwide, including stints living in Uganda, and visits to the Philippines and Jamaica. This made his return to Canada's north (an area documented by the landscape artists (the Group of Seven) all the sweeter. He could ski race and settle indoors with massive Lego builds during the winter. After getting a degree in architecture at Carleton University, he was employed as a junior architect by a firm in Toronto, or "Hollywood North" as it was beginning to be nicknamed. Paul realized that he could build designs faster and with greater freedom on a film. He left architecture and steadily gained notoriety as a Production Designer. His work includes 30 Days of Night (2007), The Twilight Saga: Eclipse (2010) and Venice Film Festival's Golden Lion winner, The Shape of Water (2017). When he is not designing, Paul can be found racing one of his rebuilt vintage cars. He still loves building Lego, proudly displaying the "Architect Series" in his office. JIM CLAY was born in North Yorkshire, England, and educated, in the grammar school system. He originally studied architecture before joining the BBC Television Art Department in the 1970s, where he learned his craft and learned the value of achieving quality in all aspects of filmmaking, alongside the virtue of intelligent content. When the BBC began to restructure in the mid-1980s, Clay used the opportunity to fully move into the world of feature films. Remaining passionate about the quality of design, he gives huge credit to those many skilled people around him who help realize his designs. In particular, his longtime Supervising Art Director Dominic Masters and construction manager Steve Bohan, without whom he says movies like Murder on the Orient Express would be impossible. Clay is married to costume designer Beatrix Pasztor. He has a son, Daniel who works with him in the Art Department and stepdaughter Aruna, who is studying art at Central Saint Martins in London. SARAH GREENWOOD is a four-time Academy Award-nominated Production Designer, earning her most recent acknowledgment for her work on Joe Wright's Anna Karenina, for which she won the Art Directors Guild Award, the European Film Award, the Evening Standard Award and the Hollywood Production Designer of the Year Award (for the second time) and was nominated for her second BAFTA. Her previous Oscar nominations were for Pride and Prejudice and Atonement (for which she won a BAFTA) with director Joe Wright. Her other Oscar nomination was for her work on Sherlock Holmes. Sarah graduated with a BA from Wimbledon School of Art, and began her career designing for the stage. She later went on to work at the BBC, where she met Katie Spencer, her longtime collaborator and set decorator. She has just completed Bill Condon's adaptation of the classic Beauty and the Beast and her most recent production with Joe Wright; Darkest Hour. EGGERT KETILSSON was born in Reykjavik. He left college to work abroad, spending seven years in Europe, Africa and Asia. He was a member of the Icelandic Theater Workshop from 1986-1989, then started as property master at the Icelandic Broadcasting Service. After five years, he got his first job on an independent film, Devil's Island. Production Designer Arni Pall Johannsson mentored him in the early days of his career. After working for ten years in the Icelandic film scene, he went to study at the Northern Film School in Leeds, UK, receiving a postgraduate degree in Production Design. In 2004, he designed his first feature, 1.0 Paranoia in Romania, and Drum in South Africa. Since then, Ketilsson has worked in Iceland both as an Art Director, Production Designer and special effects supervisor. In 2006, he created a company, "Ginnir Ehf," providing Art Department and special effects services. He worked on Christopher Nolan's Batman Begins as an Art Director and later, Interstellar and Dunkirk as the Supervising Art Director in Europe. Ketilsson is now living and working in Iceland.

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