Make. Contact.

FAQs

• Question: Can I work on your next project?

  Maybe! I’m always looking for new talent, whether you are a Graphic Designer, Concept Illustrator, Model Maker or Art Director. If you are interested, please reach out with links to your most recent work. Please keep in mind that while I occasionally am able to hire non-union talent on non-union productions, it is necessary to join the union in order to work on studio projects.

• Question: How do you join a union?

  In order to work in the art department in the U.S. and parts of Canada, you must first join IATSE local 800, the Art Directors Guild. You can find more information about joining here. For additional questions about ADG Membership, you can contact Laura Kamogawa at the ADG’s Membership Department at (818) 762-9995 or at laura@adg.org

• Question: Do you hire (unpaid) interns?

  Unfortunately, because of liability concerns, the major studios do not allow unpaid interns to work on their productions. Instead, look for opportunities to work as Art Assistants which may provide similar experience, and pay too!

• Question: How do you become a Production Designer?

  In my experience, there are three ways to become a Production Designer:

  1) Get the requisite experience and build a body of work that can convince a film director to hire you, and/or...

  2) Put in the time to build your credits, working your way up steadily through the ranks of the art department, until you build your reputation as someone capable of the position, or...

  3) Build a relationship with a working Production Designer over many years, who can eventually recommend you to a Director when they either pass on a project or retire.

• Question: What skills should I have to work in the art department?

  At a fundamental level, it’s all about communicating a vision, and there are many ways to do this. One way is through drawing and illustrating, and drawing skills are often an efficient and simple way to do this. Some designers communicate through curating research images that convey their intent. Others use 2D and 3D software that can pre-visualize the setting with accurate geometry, lighting and camera lenses. Beyond learning visualization tools, one skill that is often ignored is the importance of having a basic film knowledge. Film directors love referencing other movies, and it’s important to be well-versed in order to communicate with filmmakers on this level.

• Question: Can you recommend some good books on Production Design?

  By Design: Interviews with Film Production Designers
  by Vincent Anthony LoBrutto   [+]

  Production Design and Art Direction (Screencraft)
  by Peter Ettedgui

  William Cameron Menzies: The Shape of Films to Come
  by James Curtis   [+]

  How Designers, Architects, and Engineers Are Changing Our World
  by Tom Wujec   [+]

  On the History of Film Style
  by David Bordwell   [+]

  The Art of the Hollywood Backdrop
  by Richard M. Isackes   [+]

  Setting the Scene: The Great Hollywood Art Directors
  by Robert S. Sennett   [+]

  The Art of Illusion
  by Terry Ackland-Snow and Wendy Laybourn

  Designs on Film: A Century of Hollywood Art Direction
  by Cathy Whitlock

• Question: Can I send you my incredible screenplay?

  Sorry. All unsolicited screenplays will be returned unread.