Nathan Crowley, a renowned production designer known for his work on *Interstellar*, *Dunkirk*, and *Wicked*, shares his transformative journey in film. He reveals how a chance encounter led him to set design, and discusses the practical effects used in *Dunkirk* to enhance emotional depth. Crowley provides insights from his recent project, *Wicked*, detailing how he addressed challenges in creating iconic visuals, like expansive tulip fields. He emphasizes the importance of collaboration and following instincts in innovative design.
Nathan Crowley's accidental journey into production design emphasizes the significance of seizing unexpected opportunities and luck in career paths.
Collaboration with directors, particularly Christopher Nolan, is crucial for Crowley, allowing him to align creative visions and enhance the filmmaking process.
Crowley's adaptive approach to production design varies between genres, balancing creativity for fantasy films like 'Wicked' with authenticity in reality-based narratives.
Deep dives
Career Path and Chance Encounters
Nathan Crowley shares his unconventional journey into production design, revealing how chance encounters shaped his career. Initially aspiring to work in architecture, Crowley found his passion for film by accident when he was introduced to the industry through a friend in a bar. His experience drafting for an architecture firm led him to leave for Los Angeles, where he unexpectedly landed a job on the film 'Hook.' This series of fortunate events highlights the importance of being open to new opportunities and the role of luck in career development.
Collaboration with Directors
Collaboration plays a crucial role in Crowley's work as he emphasizes the importance of building strong relationships with directors, particularly Christopher Nolan. He explains that working closely with directors allows him to contribute creatively while ensuring the final visual representation aligns with their vision. Through discussions and formative walks with Nolan, he develops a shared understanding of the film's aesthetic, enabling him to create immersive and impactful designs. This collaborative process enriches the filmmaking experience and fosters an environment where diverse ideas can flourish.
Designing for Different Genres
Crowley discusses the varying approaches needed when designing for films across different genres, highlighting the delicate balance between creativity and practicality. For grounded, reality-based narratives, such as 'Veronica Guerin', he values research and accuracy to ensure authenticity. In contrast, fantasy projects like 'Wicked' require a more imaginative flair, where design serves specific narratives while also providing an ethereal and visually appealing backdrop. The ability to adapt his design strategies depending on the genre is essential in successfully realizing each project’s unique vision.
Learning from Challenges
Crowley reflects on the significant challenges faced during the productions, where unforeseen obstacles often require quick adaptations. For instance, during the preparation for 'Dunkirk', they faced issues such as inadequate numbers of boats and unpredictable weather conditions that impacted crucial shooting days. He learned to work under pressure and adapt creatively, ensuring that the integrity of the story remained intact. This experience taught him that flexibility and collaboration within the crew are key to overcoming challenges and achieving the film's objectives.
Creating Immersive Environments
Creating immersive environments is central to Crowley’s work, as seen in projects like 'Interstellar' where he expertly blends practical effects with visual storytelling. He discusses the meticulous planning behind sets, including how he and the team worked to ensure realistic effects, such as using miniatures and natural elements, to convey the vastness of space. Crowley emphasizes the significance of authenticity in set design and how integrating real-life elements enhances the viewer's experience. Ultimately, his goal is to create environments that captivate audiences while remaining true to the film's narrative.
SEASON 2 - EPISODE 134 - Nathan Crowley - Production Designer
In this episode of the Team Deakins Podcast, we speak with production designer Nathan Crowley (WICKED, DUNKIRK, INTERSTELLAR). After growing up in England, Nathan’s dreams of selling secondhand sports cars in LA were cut short after a run in with set designer and fellow countryman Joe Hodges at a bar outside Paramount, and we learn how Nathan dove headfirst into the art department after assisting Joe on HOOK. Nathan later shares how he made the jump to heading the department himself, and we discuss his approach to production design throughout the episode. We uncover the reasoning behind the aesthetic choices of DUNKIRK, and Nathan shares how he accounted for the practicalities of filmmaking during a globetrotting location scout to help realize the vision of INTERSTELLAR. In the back half of the episode, we discuss Nathan’s recent work on WICKED, and he shares what attracted him to the film and what scared him about designing one of the most well-known worlds in the American imagination, and he reveals how Donna Langley, the head of the studio, helped convince production to plant millions of tulips for the film. Plus, Nathan shares a key lesson he learned while working with director Michael Mann about following his instincts.
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This episode is sponsored by Aputure
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