On-Set Production – Production Design Seminar (Mark Leese) + Class Exercise 2

14-10-2023

We were fortunate enough to have the first half of class dedicated solely to a seminar by production designer Mark Leese – who has worked on ‘This is England’, ‘The Wife’, ‘Magdalene Sisters’, and more.

Notes on The Industry

Mark emphasised the importance of researching guest speakers prior to lectures or seminars. He also noted that you should know what they’ve worked on, some general information, and have looked up their IMDb profile to see their portfolio of work.

Production Design 101

Production design is concerned with the visual – aesthetics, design, and storytelling. Production designers are hired before DOPs, contrary to popular belief, and work closely with writers and directors in pre-production. This is due to the level of detail and research required for any film production, which can take longer than the average cinematographer’s prep. We need to consider the sourcing, shipping, and preparation of props, and the design and construction of sets or alterations of locations. I was surprised to learn about how early on a production designer is involved in a project, but also encouraged by it as production design is often overlooked or an afterthought on student productions due to a lack of time and resources.

Production designers will list out each person in the script and what they think is reflective of their character, lifestyle, background, and personal style. Oftentimes writers won’t consider this or include it in their scripts.

The production design department is almost always the largest department with the most crew members.

Production Design – Questions to Ask

• Where is the location? When is the story set (historical period)?
• What is the size of the location and its unique geography?
• Character profiles?
• Costumes?
• Props?
• Lighting?

Everything is dictated by the time and place, and this is crucial for research and preparation. You need historical literacy and an awareness of the budget limitations.

You need to be able to picture it and figure out the story. It isn’t just about making it look ‘good’ on-screen. Know the purpose and on-screen value of your creative choices.

Production Design Example – Se7en

Great production design speaks for itself according to Mark. In Se7en, the characteristics, habits, and lifestyles of the two detectives are never explicitly stated – it is through the details we know who these characters are. Morgan Freeman is the experienced, meticulous, and weathered detective who arranges his belongings in a line, has his suit pressed, and does his tie each morning. Brad Pitt is the flippant, unorganised, and inexperienced detective, with a flat full of boxed belongings, pre-done ties, and weather-inappropriate attire.

Scene-by-Scene Analysis – First 10 Minutes of Se7en

• Sterile, almost clinical cleanliness to Freeman’s flat. Green-blue lighting.
• Window looking out to nothing.
• Chess board – Freeman plays games of chess alone and against himself. The black and white pieces also represent Pitt and Freeman and the element of race and racial conflict. The chess also signifies that they are about to be involved in a game.

• Detective tools lined up – evenly spaced and prepared for the next morning. He leaves them there at the end of the night. He isn’t rushing to find his misplaced things the next day, he is intentional and forward-thinking.
• He has a system for his organisation and lifestyle. Everything in its place.

• Well-made bed – perfectly done, as if by a hotel maid. This detail alone says a lot about his character.
• He picks a single piece of lint from his pressed and tailor jacket. He is detail-oriented.

• Contrast between Pitt and Freeman – Pitt is unprepared for the weather and stands out from the hues of the city. He has not acclimatised. Freeman blends in, dressed for the weather, and matching his surroundings.
• Freeman is dressed like an old film noir detective. Pitt is dressed like a modern, flashy cop.
• Neutral palette of Freeman vs stark black and white of Pitt.
• Old vs new. Seasoned professional vs inexperienced newbie.

• Freeman is the metronome – consistent, to time, reliable, steady.
• It creates anticipation and tension for the viewer, but is calming to Freeman and distracts from the sounds of the city outside.

• Apartment of unpacked boxes, haphazardly placed belongings.
• Contrast to the order of Freeman’s apartment. Pitt has a dishevelled shirt, pre-made ties, a cheap, plastic phone to counter Freeman’s heavy and antique phone.
• It is the idea of disposability versus endurance.
• Common idea – the cardboard boxes that need unpacked in Pitt’s apartment vs. the boxes being packed in Freeman’s apartment.

• Freeman has a car boot full of anything he could ever need, whereas Pitt stands soaked from the rain – contrast in their level of thoughtfulness, experience, expertise, etc.

The main takeaway from this shot analysis was the level and depth of information you can convey through production design alone. It is not to be underestimated as a storytelling device, even if it is purely visual and often doesn’t call attention to itself.

In-Class Exercise 2

We received another one-page script prior to class and brought in props for another exercise – similarly to the previous week. This time our focus was on production design and how we could enhance the script through props. Mark advised each group on their approach and provided great insight throughout the remainder of our class.

Oliwia recorded a video of an acting rehearsal as seen below:

We were a few members down in this class and so had to swap around roles – this time I was 1st AC. It was another opportunity for me to set up the camera, which has only increased my confidence. Owen was DOP on this occasion, whilst Oliwia directed.

Everyone was able to implement what we worked on last week – acting rehearsals, crew rehearsals, etc. However after our seminar with Mark, we were also able to directly apply what we learnt in the morning to our shot setup. Despite the limited space, we created a wide shot we were happy with – Robbie positioned on the floor, nonchalant, and Nikola, just out of shot and moving frenetically.

It was a great opportunity to meet Mark and discuss production design with him in a practical way.