Those are examples of small, challenging moments, but mostly just the mere mention of Tom’s name would help open doors and provide access to places and people not often inclined to respond to a film’s requests. I think Tom's personal phonecall to explain their works' significances to the film helped secure permission of use. They were both very reluctant when we were using our usual route to get to the artists-gallery reps or licensing collective(s). Sebastian, Exquisite Pain, and Jeff Koons for Balloon Dog. I remember on at least two occasions he reached out to artists to get permission of use-Damien Hirst for St. Tom’s personal connections with some of the artists was key. Some of the pieces' values are so significant, we needed to hire outside shippers and installers whose primary function was to handle and manage the artwork from transport to installation. We did have to go through outside vendors for the handling of certain artwork-Mark Bradford, Aaron Curry, Alexander Calder, John McLauglin, and Robert Motherwell.
#Nocturnal animals cast series#
Although it doesn’t make the final edit, we were able to use Richard Misrach’s Portrait of Agostino from his Pictures of Paintings series instead.ĭid you have to go through any particularly non-film world avenues (art licensing, hiring outside art handlers) to make the sets come alive? How much did Tom’s personal connections come into play? We finally did get Ellsworth's permission but we unfortunately had already filmed the scene. We wanted to use Red Curve on the wall opposite Nude in Convex Mirror in Susan Morrow’s Office. We actually had the painting in our possession, part of Tom’s personal collection, but we were having difficulty getting permission from Ellsworth to use it in the film. The one work we couldn’t get was Ellsworth Kelly’s Red Curve. After filming was complete, we shipped the reproduction back to his gallery so they could destroy it. In the case of John Currin’s Nude in Convex Mirror, his gallery sent us a high-res digital file which we printed on canvas. Some artists sent them directly to the art department-Richard Misrach, Stephen Shore, Larry Fink, Cindy Sherman and Asger Carlson. The works received outside of private collections were collected in many different ways.Īcademy Award nominee Amy Adams stars as Susan Morrow in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. The Holt Residence in the film included Tony Smith, Julian Schnabel, Joan Mitchell, Robert Polidori, and Jack Pierson, while the Morrow Residence had Sterling Ruby, Ed Ruscha, Robert Longo, and others that were received by contacting the artists directly or through a clearance/product placement representative.
Others were available from various private collections. Some of the artwork was available through Tom’s personal collection. I was fortunate to have a longer prep period, allowing Tom and I the time to really work through how the artwork could help articulate certain themes and tones. The other pieces highlighted in the film for various sets/locations were selected through an ongoing conversation between the two of us. Tom was specific about three pieces in the film, Jeff Koons' Balloon Dog, Alexander Calder's 23 Snowflakes, and the REVENGE painting. How specific were Tom’s requests for pieces? How were the works obtained? Were there any works you couldn’t get? I feel they can always be another layer to help augment, illuminate, and articulate meaning.Īrmie Hammer stars as Hutton Morrow in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. I try not to just have the artwork used in the films I design just be set dressing. Those formative experiences of trying to create a theme or story through a collection of artwork, have informed my approach to production design in film making. While I was there as a fine art filmmaker, I had the privilege of curating two shows. I received an MFA from the San Francisco Art Institute.
What’s your personal experience staging/curating/handling artworks? The only ones that needed to be “made” were the opening sequence video installation and the “REVENGE” painting. In our second meeting, Tom made it very clear he wanted to have original artwork throughout the film. Shane Valentino: They were really important. The Creators Project: Right off the bat, how important were original artworks in early production design conversations? (l-r.) Andrea Riseborough stars as Alessia and Michael Sheen as Carlos in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release.
0 kommentar(er)
