Topping TV categories are "Panchinko," "Severance," "Lord of the Rings: The Rings of Power," "Our Flag Means Death," "SNL," "Cabinet of Curiosities," "How I Met Your Father"
Babylon, Glass Onion: A Knives Out Mystery, Guillermo del Toro’s Pinocchio and Everything Everywhere All at Once came up the feature winners at the Art Directors Guild’s (ADG, IATSE Local 800) 27th Annual Excellence in Production Design on Saturday evening (2/18). Held at the Intercontinental Los Angeles Downtown, the black-tie dinner gala honored standout work across 14 categories of film, television, commercials, music videos, and animation features.
The winning production designers on the feature side were Guy Davis and Curt Enderle for Guillermo del Toro’s Pinocchio, Florencia Martin for Babylon, Rick Heinrichs for Glass Onion: A Knives Out Mystery, and Jason Kisvarday for Everything Everywhere All at Once.
Television winners included Pachinko: episode “Chapter One” (Mara LePere-Schloop), How I Met Your Father: “Pilot” (Glenda Rovello), Our Flag Means Death: “Pilot” (Ra Vincent), Severance: “Good News About Hell” (Jeremy Hindle, Nick Francone), Guillermo del Toro’s Cabinet of Curiosities (David Korins), Saturday Night Live: “Jack Harlow Hosts Season 48 Episode 4, Jack Harlow Musical Guest,”(Keith Raywood, Eugene Lee, Akira Yoshimura, N. Joseph De Tullio,) and Lord of the Rings: The Rings of Power: “Adar” (Ramsey Avery). Additional winners included Short Format Music Video: Adele's “I Drink Wine” (Liam Moore), and Variety Special: 94th Annual Oscars (David Korins).
The awards took place before a sold-out audience of over 1,000 guild members, industry executives and press. ADG president Nelson Coates, ADG, and Art Directors Council chair Evan Rohde, ADG, presided over the awards ceremony, with actress/comedian Yvette Nicole Brown serving as host.
Academy Award®-nominated filmmaker Baz Luhrmann (Elvis) and his producing partner and collaborator, Academy Award-winning production designer/costume designer Catherine Martin, received the esteemed Cinematic Imagery Award. Together they have created visually enthralling masterpieces including their recent blockbuster Elvis, nominated for an Oscar® for Best Motion Picture. The award was presented by four-time Oscar-nominated actress and producer Nicole Kidman. She previously worked with Luhrmann/Martin on Moulin Rouge. The Cinematic Imagery is the ADG’s highest tribute, given annually to those whose body of work in the film and television industry has richly enhanced the visual aspects of the viewer’s experience. Multi-Academy Award- winning filmmaker Guillermo del Toro, also nominated for an Oscar this year for Guillermo del Toro’s Pinocchio, was feted with the William Cameron Menzies Award, celebrating his visually striking and emotionally rich body of work. The award was presented by Peter Ramsey, director of Spider-Man: Into the Spider-Verse. The Menzies Award goes to a filmmaker who took the visual narrative to a new level and elevates the art of production design within their work.
Terence Marsh (Doctor Zhivago, Shawshank Redemption), the late legendary production designer and art director, was inducted into the ADG Hall of Fame for his over-50-year career creating the look of a long list of preeminent films that includes Lawrence of Arabia, A Man for All Seasons, The Green Mile and The Hunt for Red October, with a special presentation by Oscar-winning production designer Rick Carter, ADG (The Fabelmans, Avatar, Lincoln, Jurassic World). Joining Marsh with a Lifetime Achievement Award was the late pioneering silent film art director, costume designer, writer, dancer, and occasional actress Natacha Rambova (Salomé, A Doll’s House), one of the first women to work as an art director in silent film Hollywood, designing sets that combined meticulous period research with a modern flair for design. Her award was presented by production designer and Awards chair Michael Allen Glover, ADG (Stations Eleven).
Four esteemed ADG Lifetime Achievement Awards were presented. Academy Award-nominated production designer Lilly Kilvert, ADG (The Crucible, The Last Samurai, Legends of the Fall) was honored by the Art Directors Council (AD), presented by four time Academy Award-nominated actress Annette Bening. Michael Denering, ADG (Lemony Snicket’s A Series of Unfortunate Events, Batman Returns, Jurassic Park) was honored by the Scenic, Title, and Graphic Artists (STG)Council, presented by former Lifetime Achievement honoree John Moffitt, ADG. Set designer Luis Hoyos, ADG, (Memoirs of a Geisha, Dreamgirls), was recognized by the Set Designers and Model Makers (SDMM) Council, presented by John Chichester, ADG (Star Trek Into Darkness). Janet Kusnick, illustrator/storyboard artist (Jungle Cruise, Silverado, The Day the Earth Stood Still), was honored by the Illustrators and Matte Artists (IMA) Council, presented by Cynthia Anderson Barker.
The awards were produced by Glover, ADG (Station Eleven, The Alienist, Solos), production designer Megan Elizabeth Bell, ADG (Out of the Blue, Breakwater, American Murderer), and Debbie Patton, awards & events director.
Winners of the 27th Annual Art Directors Guild Awards:
WINNERS FOR MOTION PICTURES:
PERIOD FEATURE FILM
Babylon
Production Designer: Florencia Martin
FANTASY FEATURE FILM
Everything Everywhere All at Once
Production Designer: Jason Kisvarday
CONTEMPORARY FEATURE FILM
Glass Onion: A Knives Out Mystery
Production Designer: Rick Heinrichs
ANIMATED FEATURE FILM
Guillermo del Toro’s Pinocchio
Production Designers: Guy Davis, Curt Enderle
WINNERS FOR TELEVISION:
ONE-HOUR PERIOD SINGLE-CAMERA SERIES
Pachinko: “Chapter One”
Production Designer: Mara LePere-Schloop
ONE-HOUR FANTASY SINGLE-CAMERA SERIES
The Lord of the Rings: The Rings of Power: “Adar”
Production Designer: Ramsey Avery
ONE-HOUR CONTEMPORARY SINGLE-CAMERA SERIES
Severance: “Good News About Hell”
Production Designer: Jeremy Hindle, Nick Francone
TELEVISION MOVIE OR LIMITED SERIES
Guillermo del Toro’s Cabinet of Curiosities
Production Designer: Tamara Deverell
HALF-HOUR SINGLE-CAMERA SERIES
Our Flag Means Death: “Pilot”
Production Designer: Ra Vincent
MULTI-CAMERA SERIES
How I Met Your Father: “Pilot”
Production Designer: Glenda Rovello
VARIETY, REALITY OR COMPETITION SERIES
Saturday Night Live: “Jack Harlow Hosts Season 48 Episode 4, Jack Harlow Musical Guest”
Production Designers: Keith Raywood, Eugene Lee, Akira Yoshimura,
N. Joseph De Tullio
VARIETY SPECIAL
94th Annual Oscars
Production Designer: David Korins
SHORT FORMAT: COMMERCIALS
The Lord of the Rings: The Rings of Power: “Title Announcement”
Production Designer: Brian Branstetter
SHORT FORMAT: MUSIC VIDEO OR WEBSERIES
Adele “I Drink Wine”
Production Designer: Liam Moore
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More