Production designer a creator of bizarre, beautiful worlds

When you think of memorable production design in films, some images come to mind most vividly. There's the washed-out four-story ship in The Life Aquatic with Steve Zissou, complete with a sauna and flashlight-equipped dolphins. There's nearly every scene in Across the Universe—from the dreary gray Liverpool streets to the art studio with "bleeding" pinned strawberries. There's the cramped turquoise interior of the Darjeeling Limited Indian Railways train, and there's the pristine, muted '50s décor of Far From Heaven. All of these have one major commonality: They were dreamed up by Mark Friedberg.

Friedberg is a movie production designer who will soon be visiting Vassar for an image-filled lecture and discussion of his craft. The event, sponsored by the Film Department and Vassar Filmmakers, will take place at 7 p.m. on Wednesday, April 21 in Vogelstein Center for Drama and Film 109 and will follow a screening of another of his visually creative films, Synecdoche, New York.

The production designer is in charge of the look of the film and collaborates with everyone from the director to costume designer to create an overall aesthetic. "I try to be organized, well-researched and open to randomness all at the same time," said Friedberg of his work. "Often the inspiration comes from unexpected places. I prefer to take chances, and when they work then the sets really sing." "Often the inspiration comes from unexpected places. I prefer to take chances, and when they work then the sets really sing." The busy filmmaker says the process can get intense, explaining, "I worked 10 months without a day off on Life Aquatic. Not sleeping too much now."

Friedberg, who was a United States history and sculpture double major at Brown University, said his favorite part of production design is the intensive historical research he does beforehand. "I've always loved history and like to pretend that I live in past cultures. I am more curious about what is the same rather than what is different," Friedberg said.
The research that goes into creating movie settings can vary widely: "Ours is an intensive course on whichever world we are inhabiting for that story. What I love about our business is the randomness of the worlds I get to make. One day it's Pollack in the 1940 and '50s; the next it's third century India," said Friedberg. One frontier Friedberg has yet to interpret: "I'd love to do the future. Haven't gotten there yet."

There is a reason his impressive résumé is made up of films that are visually stunning as well as critically acclaimed. "I am more interested in working on a good movie than a good design opportunity," said Friedberg. He usually chooses his films based on the director, explaining, "The sets are only one part of a film. Good sets on a bad film means nothing. Good directors make good films."

He has worked with his fair share of such directors, from Charlie Kaufman to Wes Anderson. Of the latter he says, "He is the most particular director but is one of the most fun. He loves to make things that are central to his storytelling—a half ship, a train, a submarine…"

For those who hope to break into the film industry advises, "Start working on any film you think could be good. Work out the money part later." To all students, he adds that the journey is what matters: "Study hard, graduate, then get in a car and drive. Figure out where you are going once you get there. These are your exploring years." Lastly, he stresses, "Don't compromise yourself."

Assistant Professor of Film Kathleen Man, with the help of Vassar Filmmakers and a grant from the Academy of Motion Picture Arts and Sciences, has organized a yearlong film lecturer series. The lectures have brought the likes of Oscar-winning actor Keith Carradine and rising independent director Kelly Reichardt. Man is grateful for all of the big names who have taken the time to discuss their careers with students. "It is an amazing opportunity to meet top film professionals in such an intimate setting, and to learn from this really high caliber group of people," said Man. "It really wouldn't be possible if all of them weren't so kind to give some of their time."

Man emphasized that hearing from successful filmmakers is an invaluable experience. "All that goes into the making of a film goes way beyond what film school can teach. So in our case, we're bringing the professionals here." Of Friedberg, she says she has seen most of his films and has long admired his diverse work. "He's done it all," she marveled.

Grace Statwick '12, who will soon replace current Vassar Filmmakers president Kyle Porter '10, is planning on becoming a production designer and is excited to learn more about Friedberg's experience. "I feel like every film student here wants to direct," said Statwick. "But production design is, to me, the coolest way I know how to tell a story. It is essential for film: It's the overall concept, the feel of the life we live for the two hours we're watching. And it's the magic—the tricks employed through which we believe a film is real life."