Acknowledgements
The task of writing a definitive guide on a subject as specialized as art direction is daunting. In order to include as much information as necessary to complete such a comprehensive undertaking, I relied on personal wisdom gleaned from working in the collaborative art of filmmaking, which has taught me to trust the collective experience and knowledge of my peers. Other art directors whom I admire and have helped fill in the gaps are Linda Berger, Gae Buckley, Phil Dagort, Christa Munro, and Steve Saklad. Big thanks to all of you for your personal insights, recollections, information, and unique personalities, making this book a reliable guide for future generations of eager filmmakers.
Special thanks to Linda Berger for her preternatural love for the moving image. Within the short span of two years as chairman of the Film Society, she has presented tribute programs focusing on accomplished art directors as a way to educate the art direction guild membership and the public at large. The introductory presentations, interviews with honored guests, and screening of their works have been nothing less than inspiring. Her gift to me, aside from some of the imagery for this book, is her drive to honor visual excellence. It is contagious. I thank her for her zeal and steadfastness.
Allan White is another key player who requires special thanks. He is not a filmmaker, but an extraordinary partner willing to go the distance at all costs. He is a spiritual guardian allowing little negativity, a resilient sounding board, an unconditional financial supporter, and someone who believes in me when I do not. Without his towering presence, this book would not exist.
Christine Tridente is my editor at Focal Press, who spearheaded this book and went to battle for me when changes were inevitable. She is professional, steadfast, unwavering, and everything an editor should be. Her effort and dedication have shaped this book.
Certain factual and spiritual support from production designers, directors, cinematographers, and producers encountered along the way has encouraged my own excellence and function as a film professional. They are the following: Charles Bennett, Lark Bernini, Jim Bissell, Richard Crudo, John Gray, John Graysmark, Catherine Hardwicke, Gemma Jackson, Victor Kempster, Debra Lee, Alex McDowell, Harold Michelson, Ron Nash, Victoria Paul, Kirk Petrucelli, Richard Prince, Ida Random, Tommy Schlamme, Dean Semler, Roy Forge Smith, Craig Stearns, Oliver Stone,
Veronique Vowell, Bernie Williams, and Stuart Wurtzel. In one way or another, you have all had a hand at the forge.
Very special thanks to Henry Bumstead, John Gray, and Frank Stiefel. They didn't have to provide book cover quotes; they wanted to. I thank them for their generosity.
Although challenging, writing the text between the covers of this book was not my most difficult task. Nor was gathering the extraordinary images that support the text. Every art department artist I spoke with and interviewed for quotes was forthcoming and generous with any of the imagery created for a specific film project I was referencing. In effect, everyone was willing to share the contents of his or her portfolio with me. The essence of that collaborative spirit permeating the movie industry from where all creative participants stand and work is what kept me going through the rough spots. I began to stumble when I was requesting studio permissions to use their "intellectual property" illustrating the pages of this book. Studio guidelines are strict and rarely flexible; for the most part, I was met with cooperation and willingness toward a mutually satisfying outcome of reasonableness and fairness. In one arduous moment when I was flatly refused permissions, I had a hero. Alex McDowell, production designer, interceded by calling a former boss—together, Steven Spielberg and he became single-minded champions who helped secure permissions for some of the book's more important digital images. I am indebted to them. I am also deeply moved by the palpable effect of that same collaborative love and tremendous effort that imbues the making of the films we watch.
While thanking champions, I must also acknowledge the tireless effort of Patty Mack, owner of The Mack Agency, Los Angeles, in helping to secure the final permission for these same difficult images. She is an ardent and resilient supporter of all creative folks in Hollywood.
Art department crewmembers I have worked with or met in passing whose effort, conversation, or willingness to contribute images and interview text must be acknowledged: Beany Barnes, Jim Bissell, J. Andre Chaintreuil, Laureen Clarke, Beat Frutiger, Stephanie Girard, Colin Green, Luke Freeborn, Jeff Jarvis, Victor Martinez, Harold Michelson, Harry Otto, Maya Shimoguchi, Dan Sweetman, and Dennis Welch. These individuals and others like them can always be counted on to run interference and support me as an art director. Along with the satisfaction of another film in the can comes the knowledge of what creative interchange and true collaboration can produce. It is the most precious gift to take away from a project, not a baseball cap or jacket.
Individuals at institutions providing access to images include Amy Jelenko at the Art Directors Guild—Local 800 in Studio City; Lillian Michelson of the Lillian Michelson Research Library at DreamWorks SKG; Barbara Hall at Dorothy Herricks Research Library at the Motion Picture Academy of Arts and Sciences in Los Angeles; Helen Cohen and Ms. Presley at the Cecil B. DeMille Foundation; Ricky and Jamie at The Kobal Collection in New York City; and Donovan Brandt at Eddie Brandt's Saturday Matinee in North Hollywood.
Lillian and Harold Michelson were particularly supportive in my image search. As newly made friends, the Michelsons are welcoming and willing to share their individual and collective experience, friends, stories, wisdom, and time. Harold's extraordinary storyboards and sketches will continue to provide inspiration for generations of creative filmmakers.
The bulk of the visual material within these covers was cleared for use through the efforts of Andy Bandit for 20th Century for Films, Margarita Harter of Columbia Pictures, Margaret Adamic at Disney Studios, Melissa Hendricks of DreamWorks SKG, Albert J. Parks of MGM/United Artists, Larry McCallister of Paramount Studios, Roni Lubliner of Universal Pictures, and Marlene Eastman at Warner Bros. Clip & Still Licensing.
Additional help of reviewers includes Jill Bream, Balint Birkas, Tobias Frank, Giovanni Guarino, and Tim Keates, and it is much appreciated.
Finally, there are the civvies who have had a profoundly quiet impact on this yearlong project—they are Brian Ashby, Joan Greco, Fran Jacobson, Troy Kivel, Camille Mottet, Mark Penfield, Mark Quinlan, Jane Rizzo, Len Talan, Elizabeth Tullis, Evelyn Uhlig, Nancy Weems, Allan White, and Oscar, the Boston terrier.
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