The Art Directors Guild

15th AnnualExcellence in

Production Design Awards

February 5, 2011

PLATIN

UM

SPON

SOR

15th Annual AwardsFor Excellence in Production Design

February 5, 20115:00pm COCKTAIL RECEPTION

6:30pm DINNERFeaturing music by Johnny Crawford and his Orchestra

7:30pm AWARDS PROGRAMHosted by Paula PoundstoneScenic Design by Scott Enge

Co-Produced by Dawn Snyder and Thomas Wilkins

Welcome by Thomas Walsh, President Art Directors Guild

“The Art of the Art Department”

Excellence in Production Design for an Episode of Multi-Camera, Variety, or Unscripted Television Series

Excellence in Production Design for an Episode of a One Hour Single Camera Television Series

Excellence in Production Design for an Episode of a Half Hour Single Camera Television Series

Inductees to the Art Directors Guild Hall of Fame Alexander Golitzen Albert Heschong Eugene Lourie Presented by Norm Newberry

Excellence in Production Design for an Awards, Music or Game Show

Excellence in Production Design for a Commercial or Music Video

Lifetime Achievement Award Patricia Norris Presented by David Lynch

Excellence in Production Design for a Television Movie or Mini-Series

Outstanding Contribution to Cinematic Imagery Award Syd Dutton and Bill Taylor Presented by Robert Stromberg

Excellence in Production Design for a Contemporary Feature Film

Excellence in Production Design for a Fantasy Feature Film

Excellence in Production Design for a Period Feature Film

32

PLATINU

M SPO

NSO

R

LETT

ER F

ROM

TH

E PR

ESID

ENT

Thomas A. Walsh, President and Chairman

Art Directors Guild

PLATINU

M SPO

NSO

R

4 5

On behalf of the Board of Directors and the Council of the Art Directors Guild it gives me great pleasure to welcome you to this our 15th Annual Excellence in Production Design Awards Program. This annual tradition brings together an extraordinary assembly of designers, all of who are leaders in the art of narrative design for the moving image.

Since 1924, the year of our organization’s first formation as the Cinemagundi Club, our Guild has evolved and continues to grow both as a professional society as well as a union of unique individuals. Within the body of this program we wish to pay tribute not only to this year’s nominees, but to all of those who practice our profession with creativity, integrity and artistry.

Designs on Film and The Art of the Art Department are our themes for tonight’s celebration one that is intended to honor all of the designers and visual artists who contribute their many talents to the filmed narrative. The Art Department is very dependent on a core group of talented individuals who all must work in close collaboration towards a common purpose. Both through tonight’s program and through the release of Cathy Whitlock’s marvelous new book, Designs on Film, published by Harper Collins, the Guild endeavors to bring further clarity and public recognition to the many talented artists and craftspeople that collectively are the Art Department.

Tonight it is highly appropriate that we celebrate two of our industries finest master-wizards and purveyors of the art of smoke and mirrors; visual effects artists Syd Dutton and Bill Taylor, by honoring them and the legacy of their company Illusion Arts with our Outstanding Contribution to Cinematic Imagery Award. Their achievements as innovators, practitioners and mentors to so many visual effects artists, designers and filmmakers have immeasurably enriched the pursuits of all those who were fortunate enough to be guided by these gifted gentlemen/artists so that they could see their aspirations become realities.

The ADG is most honored to extend its Lifetime Achievement Award to production and costume designer, Patricia Norris. By celebrating Patricia’s life and career the Guild reaffirms the hopes of every young designer regardless of their background or gender, encouraging them to pursue their dreams and overcome the status quo in the pursuit of their creative aspirations.

This year’s Art Directors Guild Hall of Fame inductees were all extraordinary master designers. Alexander Golitzen, Eugene Lourie and Albert Heschong, have all left a legacy that continues to inspire all those who have chosen Art Direction as their profession, so it is most appropriate that we honor their memory tonight through their induction into this unique assembly of master designers.

The ADG is proud to represent so many accomplished practitioners. Our members continue to provide the creative leadership, imagination and skill-sets that allow a good story to be well imagined and realized!

6 7

Tonight we celebrate the astounding artistry of the nominees for the various Excellence in Production Design Awards, now, annually, for the fifteenth time.

Additionally, we salute and honor our Llifetime Achievement honoree, Patricia Norris, for an astounding body of work; Syd Dutton and Bill Taylor, the recipients of this year’s Outstanding Contribution to Cinematic Imagery; and our latest inductees into the Guild’s Hall of Fame: Alexander Golitzen, Albert Heschong and Eugene Lourie.

But beyond these celebrations, we also recognize, honor and celebrate every one of the nearly 2000 members of the Art Directors Guild, IATSE Local 800, each of whom qualified for membership in the most prestigious labor union in the world devoted solely to the core Art Department crafts of Art Direction, Set Design, Illustration and Scenic and Graphic Art.

Also worth recognizing is the fact that these crafts just a few years ago operated as four separate labor unions. We now, and since 2008, are one union. It was a long time coming and took no little amount of effort to get there. But the greater communication and understanding among the four crafts now housed under one roof will redound to their, and the industry’s, benefit for years to come.

Scott RothExecutive Director Art Directors Guild

LETT

ER F

ROM

TH

E EX

ECU

TIV

E D

IREC

TOR

PLATINU

M SPO

NSO

R

8 9

GO

LD SPO

NSO

R

Set & Décor SponSor

platinum SponSorSINTERNATIONAL CREATIVE MANAGEMENT

UNITED TALENT AGENCyWARNER BROS. PICTURES

GolD SponSorSFOX SEARCHLIGHT

FOX STUDIOS PRODUCTION SERVICESPARAMOUNT PICTURES UNIVERSAL PICTURESUNIVERSAL STUDIOS –

PROPERTy, DRAPERy, SIGN, STAGE AND MOULDING SHOPS

Silver SponSorSASTEK INC./ON AIR DESIGN

DAzIAN FABRICSHOME BOX OFFICE

MONTANA ARTISTS AGENCyWARNER BROS STUDIO FACILITIES

WME – DEVIN MANN, JASAN PAGNI, STACEy KARP AND SHARI SHANKEWITz

meDia SponSorS

BELOW THE LINEHOLLyWOOD REPORTER

VARIETy

AWA

RDS

BAN

QU

ET S

PON

SORS

SATURDAY NIGHT LIVE: “BETTY WHITE/JAY Z”

PRODUCTION DESIGNERS KEITH IAN RAyWOODEUGENE LEE • AKIRA yOSHIMURAN. JOSEPH DETULLIO

SCENIC ARTISTS MARK RUDOLFHALINA MARKI

HOW I MET YOUR MOTHER: “NATURAL HISTORY”

PRODUCTION DESIGNER STEPHAN G. OLSON

SET DESIGNER DANIEL SAKS

SET DECORATOR SUSAN ESCHELBACK

HELL’S KITCHEN: “EPISODE #810”

PRODUCTION DESIGNER JOHN JANAVS

ART DIRECTOR ROBERT FRyE

ART DIRECTOR KEVIN P. LEWIS

ASSISTANT ART DIRECTOR JEN SWANSTON

GRAPHIC DESIGNER LIBBy WAMPLER

SET DECORATORS HEIDI MILLERSTEPHEN PAUL FACKRELL

EXCELLENCE IN PRODUCTION DESIGN FOR AN EPISODE OF MULTI-CAMERA, VARIETy, OR UNSCRIPTED SERIES 2010

THE

NO

MIN

EES

10 11

GO

LD SPO

NSO

R

CONAN: “EPISODE 1.1”

PRODUCTION DESIGNERS JOHN SHAFFNERJOE STEWART

ART DIRECTOR CHRISTOPHER GOUMAS

ASSISTANT ART DIRECTOR MATT RUSSELL

TWO AND A HALF MEN: “HOOKERS, HOOKERS, HOOKERS”

PRODUCTION DESIGNER JOHN SHAFFNER

ART DIRECTOR FRANCOISE CHERRy-COHEN

SET DECORATOR ANN SHEA

12 13

MAD MEN: “PUBLIC RELATIONS”

PRODUCTION DESIGNER DAN BISHOP

ART DIRECTOR CHRISTOPHER L. BROWN

ASSISTANT ART DIRECTOR SHANNA STARzyK

SET DESIGNER CAMILLE BRATKOWSKI

GRAPHIC DESIGNER GEOFFREy MANDEL

SET DECORATOR CLAUDETTE DIDUL

TRUE BLOOD: “TROUBLE

PRODUCTION DESIGNER SUzUKI INGERSLEV

ART DIRECTOR CAT SMITH

ASSISTANT ART DIRECTOR MACIE VENER

SET DESIGNER DANIEL BRADFORD

SET DECORATORS LAURA RICHARzROBERT GREENFIELD

TUDORS: “EPISODE #407”

PRODUCTION DESIGNER TOM CONROy

ART DIRECTORS COLMAN CORISH CARMEL NUGENT

ASSISTANT ART DIRECTOR BRIANA HEGARTy

EXCELLENCE IN PRODUCTION DESIGN FOR AN EPISODE OF A ONE HOURSINGLE CAMERA TELEVISION SERIES 2010

GO

LD SPO

NSO

R THE

NO

MIN

EES

SET DESIGNERS BRENDAN RANKINLESLEy OAKLEy

GRAPHIC DESIGNER ANNIE ATKINS

SET DECORATOR CRISPIAN SALLIS

24: “4:00 PM - 5:00 PM”

PRODUCTION DESIGNER CARLOS BARBOSA

ART DIRECTOR CARLOS OSORIO

ASSISTANT ART DIRECTOR AMy MAIER

SET DESIGNERS MARCO MIEHERON yATES • CAMERON BIRNIE

GRAPHIC DESIGNER ADAM TANKELL

SET DECORATOR CLOUDIA REBAR

GLEE: “BRITNEY/BRITTANY”

PRODUCTION DESIGNER MARK HUTMAN

ART DIRECTOR MICHAEL RIzzO

SET DESIGNER TIM EARLS

GRAPHIC DESIGNER JASON SWEERS

SET DECORATOR BARBARA MUNCH-CAMERON

14 15

MODERN FAMILY: “HALLOWEEN”

PRODUCTION DESIGNER RICHARD BERG

ASSISTANT ART DIRECTOR CLAIRE BENNETT

SET DECORATOR AMBER HALEy

30 ROCK: “LIVE SHOW”

PRODUCTION DESIGNERS KEITH IAN RAyWOODTERESA MASTROPIERRO • PETER BARAN

SCENIC ARTIST ELINA KOTLER

SET DECORATOR JENNIFER GREENBERG

OUTSOURCED: “HOME FOR THE DIWALIDAYS”

PRODUCTION DESIGNER JOSEPH P. LUCKy

ART DIRECTOR WILLIAM DURRELL, JR

SET DESIGNER VIVA WANG

GRAPHIC DESIGNER MEAGEN MINNAUGH

SET DECORATOR CHERIE DAy LEDWITH

EXCELLENCE IN PRODUCTION DESIGN FOR AN EPISODE OF A HALF HOURSINGLE CAMERA TELEVISION SERIES 2010

THE

NO

MIN

EESG

OLD

SPON

SOR

UNITED STATES OF TARA: “TROUBLE JUNCTION”

PRODUCTION DESIGNER CABOT MCMULLEN

ART DIRECTOR COLIN DEROUIN

ASSISTANT ART DIRECTOR SARA PETERSEN

SET DECORATOR BETH WOOKE

COMMUNITY: “BASIC ROCKET SCIENCE”

PRODUCTION DESIGNER DEREK R. HILL

ASSISTANT ART DIRECTOR ROBERT JOSEPH

SET DECORATOR DENISE PIzzINI

16 17

Prince Alexander Alexandrovich Galitzine was born in Moscow, a relative of the tsars, but escaped the country with his family during the Russian Revolution. While his father was imprisoned, his mother fled with their five children in a boxcar across Siberia, finally reaching Harbin in what was then Manchuria. After his father finally got free, he brought Alex and two of his sisters to Seattle, where Alex graduated from Victoria Boys School and then enrolled at the University of Washington. He earned a degree in architecture there, and then moved to Los Angeles in 1933 to become an assistant to fellow Russian-born art director, Alexander Toluboff at MGM working as an illustrator on Queen Christina (1933).

He was laid off from MGM, but he soon got a job as a sketch artist with director Lewis Milestone on RAIN. This was an important step for Golitzen, since it introduced him to Richard Day, the head of the art department at United Artists and one of the industry’s most talented art directors. Alex went to work for Day at United Artists, and throughout the 1930s, worked as a sketch artist, draftsman and assistant art director on a number of productions with him, including Roman Scandals (1933), Les Miserables (1935), Come and Get It! (1936), Dodsworth (1936), Stella Dallas (1937), The Hurricane (1937), and Dead End (1937). Golitzen had his first chance as a full-fledged art director in 1935 on The Call of the Wild, a 20th Century-Fox production which was filmed on location in Mount Baker, Washington.

He began working for producer Walter Wanger in 1939 and they worked together on many films. Early projects with Wanger included Alfred Hitchcock’s second film in the United States Foreign Correspondent (1940), for which Alex was nominated for his first art direction Academy Award. In 1942, after creating the sets for Ernst Lubitch’s That Uncertain Feeling (1941), Alex was hired by Universal to design Walter Wanger’s production of Eagle Squadron (1942). Over the next ten years, Alex worked on several dozen films ranging from adventure pictures and westerns to costume dramas. He won his first Academy Award in 1943 for his impressive art direction of Universal’s Technicolor remake of Phantom of the Opera.

Many of Alex’s films during the 1940s continued to be made in collaboration with Wanger, including Arabian Nights (1942), Salome Where She Danced (1945), and Night in Paradise (1946). In 1945, Alex designed Wanger’s production of the moody Fritz Lang classic Scarlet Street, and in 1948 had the opportunity to work with Max Ophuls on Letter from an Unknown Woman, one of the most beautifully crafted and carefully detailed period films of the postwar era.

While continuing to work as a unit art director at Universal through the late 1940s and early 1950s, Alex also began to fill in for the ailing department head, Bernard Herzbrun. In 1955, he officially succeeded Herzbrun as the supervising art director of the studio. As head of the art department, Alex was in charge of hiring and supervising the art directors, coordinating set construction, location selection and budgets, working closely with the other studio department heads and consulting with the art directors on their productions. Along with his associates, he is credited as the art director on most the films produced by Universal on the Universal City lot from 1954 to 1973.

Although considered a genius for his work in color films, including westerns, musicals, and even the science fiction film, This Island Earth (1955), he was also adept in black & white. To Kill a Mockingbird (1962) won an Oscar for Golitzen and Henry Bumstead. Golitzen also did notable work for television series such as The Twilight Zone (1959) and Alcoa Presents: One Step Beyond (1959). He retired on a high note: his very last film, Earthquake (1974), was Oscar-nominated.

ALEXANDER GOLITzEN1908 – 2005

HA

LL O

F FA

ME

2010G

OLD

SPON

SOR

18 19

Albert Heschong was present at the very beginning of television design, and over a fifty year career designed literally hundreds of television dramas, at first for live broadcast and later on videotape and film.

He was born and grew up in Cincinnati, Ohio, the son of German immigrant parents. When the new Walnut Hills College Preparatory High School was built next to his childhood home, he resolved to enroll. The school had a brand new, state-of-the-art theater with trapped stage and a fifty-foot fly loft. Throughout high school he alternately acted, and designed and constructed sets for the school productions. This background, and a natural penchant for drawing, led him to Carnegie Tech (now Carnegie Mellon University) where he studied acting as well as set design. Halfway through his second year, he switched his major to architecture and worked summers at stock theater companies in upstate New York and Cleveland.

A trip to the 1939 World’s Fair on Long Island, and a tip from a fellow stock-company actor led him to meet James McNaughton (a Carnegie architecture graduate) who was the entire Art Department for RCA/NBC’s experimental television at Radio City in New York. Although an eventful decade, filled with four war-years in the service, marriage and the birth of his sons, kept him from capitalizing on that meeting, Heschong finally returned to New York in 1949 to work for McNaughton at the new ABC network. For the next six years he designed more than three-hundred live dramas, some half-hour and some one-hour, for shows such as Boris Karloff Presents, Pulitzer Prize Playhouse, and U.S. Steel Hour.

In 1955, Heschong was lured away from ABC and from New York, to help start up CBS Television City in Hollywood. He was the third designer hired there: Jim Vance was designing episodes of Climax, and Robert Tyler Lee, the department head, was busy on The Jack Benny Show and an unending series of game shows and specials. Walter Herndon and Richard Haman would join soon after. For the next four years, Heschong designed more than one-hundred episodes of variety and situation comedy series and more than forty dramatic shows that reflected the finest moments of live television drama: The Great Gatsby, The Miracle Worker, Judgement at Nuremburg, and Requiem For a Heavyweight, for which he won an Emmy Award.

These live dramas, even though designed to be shot with multiple cameras, were heavily influenced by film-studio techniques and detailing, and Heschong longed to try his hand at the growing field of filmed television. When his friend Dick Haman suggested he interview for a CBS show at Paramount, Heschong landed his longest job with a single employer—twenty-four years. CBS was looking for a designer for Gunsmoke, and they also wanted to relocate the series to the old Republic Pictures lot in Studio City. Heschong took on the assignment, and in 1962 he was appointed head of the art department there, a job he would hold until his retirement. Other designers filled in on Gunsmoke in those years (Joseph Jennings designed more than one-hundred episodes), while Heschong created and supervised other series such as Wild, Wild West, Gilligan’s Island, The Munsters, The Mary Tyler Moore Show and dozens of others. He also found time to design more than thirty television MOWs and several feature films for CBS even while he continued to supervise the network’s film art department.

When it comes to television Production Design, Albert Heschong did it all, and he did much of it before anyone else. From his extraordinary creativity in the earliest days of black-and-white live broadcasts through Golden-Age dramas at Television City, to convincing the network to purchase CBS Studio Center and setting up its art department, he was one of the most influential production designers in the history of television.

ALBERT HESCHONG1919 – 2001

SILVER SPO

NSO

RH

ALL

OF

FAM

E 20

10

20 21

Eugene Lourié had several careers, and all of them were hugely influential in the development of contemporary Production Design.

Lourié was born in 1903 in Kharkov in tsarist Russia, and fled the country with his family following the Bolshevik Revolution in 1917, first to Turkey and then to France. The young boy had fallen in love with movies at an early age and was destined for a career in cinema. Although he studied painting in the 1920s, he always supported himself with film work and never pursued a real career in fine art.

Paris in the 1920s was the home to thousands of Russian emigres escaping from the Communists, including film producers and directors who continued making films in their new country. In 1921, when Lourié arrived in Paris, he went immediately to work as a set and background painter and over the next few years his reputation grew and led him to be employed by some of the finest directors of the French Golden Age: Marcel L’Herbier, Jacques Becker, René Clair, Max Ophuls and Jean Renoir. The three classic films that Lourié designed for Renoir established him as a leading French Art Director: La Grande Illusion (1937), La Bête Humaine (1938) and Règle du Jeu (The Rules of the Game) (1939). More than any designer working in popular cinema at that time, Lourié understood the metaphorical uses of Production Design and his designs told stories beyond the written script.

In 1937 Lourié had to escape yet again, this time from Nazism after the fall of France, and he fled to Hollywood with many others in the European film community. As an acclaimed European designer, his services were requested by Hollywood’s leading filmmakers: Zoltan Korda on Sahara (1943); Julien Duvuvier on The Imposter (1944); Robert Siodmak, with whom Lourié had worked in Paris, on The Strange Affair of Uncle Harry (1945); and Anatole Litvakon The Long Night (1947). His collaboration with Renoir continued as well.

He continued to work only sporadically as an Art Director because he diversified his career and his interests. He began directing films, including the science fiction classic The Beast From 20,000 Fathoms (1953), and became a leading designer of special visual effects for films such as Krakatoa, East of Java (1968). As an Art Director, he still produced some stunning work. He worked for Samuel Fuller on two of the director’s classic post-noir hard boiled thrillers, Shock Corridor (1963) and The Naked Kiss (1964). He designed Charlie Chaplin’s final film, Limelight (1952) in a highly expressionistic style, and he worked yet again with Renoir on a true masterpiece, The River (1951) filmed entirely in India, where his colorful and exotic settings proved him to be a master of Technicolor as well as his more usual black- and-white films.

Eugene Lourie will be remembered, chiefly through his collaborations with Jean Renoir, as the designer who helped to establish a broader scope to Production Design, away from the confines of the soundstage and backlot. His realist style would presage the filmmaking of the post-Golden Age era.

EUGENE LOURIÉ1903 – 1991

SILVER SPO

NSO

RH

ALL

OF

FAM

E 20

10

22 23

82ND ANNUAL ACADEMY AWARDS

PRODUCTION DESIGNER DAVID ROCKWELL

ART DIRECTORS JOE CELLI BARRy RICHARDS

ASSISTANT ART DIRECTOR GLORIA LAMB

SET DESIGNER RESA DEVERICH

2010 MTV VIDEO MUSIC AWARDS

PRODUCTION DESIGNER FLORIAN WIEDER

ART DIRECTORS ISABELL RAUERT TAMLyN WRIGHT

ASSISTANT ART DIRECTOR MATT STEINBRENNER

ILLUSTRATORS GEORG BOERNER THOMAS RICHTER

GRAPHIC DESIGNER FALK ROSENTHAL

62ND PRIME TIME EMMY AWARDS

PRODUCTION DESIGNER STEVE BASS

ART DIRECTOR KRISTEN MERLINO

EXCELLENCE IN PRODUCTION DESIGN FOR AN AWARDS, MUSIC OR GAME SHOW 2010

THE

NO

MIN

EES

SILVER SPO

NSO

R

67TH GOLDEN GLOBE AWARDS

PRODUCTION DESIGNER BRIAN J. STONESTREET

SUPER BOWL XLIV

PRODUCTION DESIGNER BRUCE RODGERS

ART DIRECTORS SEAN DOUGALLMAI SAKAI

ASSISTANT ART DIRECTOR JAKE KAVANAGH

24 25

MILK: “THE DENTIST”

PRODUCTION DESIGNER JEFFREy BEECROFT

ART DIRECTORS SIMON MURTONSEBASTIAN SCHROEDER

ASSISTANT ART DIRECTOR DAWN SEVERDIA

GRAPHIC DESIGNER SCOTT PURCELL

SET DECORATOR KAREN OHARA

FARMERS INSURANCE: “FROZEN PIPES”

PRODUCTION DESIGNER KEN AVERILL

ART DIRECTOR THOMAS WILKINS

ASSISTANT ART DIRECTOR SCOTT HEINEMAN

SET DECORATOR ELIzABETH RAGAGLI

CAPITAL ONE: “RAPUNZEL”

PRODUCTION DESIGNER JEREMy REED

ILLUSTRATOR ROBERT SILLS

EXCELLENCE IN PRODUCTION DESIGN FOR A COMMERCIAL OR MUSIC VIDEO 2010

THE

NO

MIN

EES

SILVER SPO

NSO

R

FORD FIESTA: “LAUNCH:

PRODUCTION DESIGNER FLOyD ALBEE

ART DIRECTOR ALEXANDER WEI

ASSISTANT ART DIRECTOR ANDREW CLARK

SET DECORATOR GAIL OTTER

DOS EQUIS: “ICE FISHING”

PRODUCTION DESIGNER JESSE B. BENSON

SET DECORATOR BIANCA FERRO

26 27

PATRICIA NORRISFor many reasons Patricia Norris is a superior choice for the Art Directors Guild Lifetime Achievement recognition. By celebrating Patricia’s life and career the Guild reaffirms the hopes of every young designer regardless of their background or gender, encouraging them to pursue their dreams and overcome the status quo in the pursuit of their creative aspirations. For these reasons the Guild has elected to recognize Patricia Norris with its highest honor, that of Lifetime Achievement.

Patricia is one of only a very few American designers who have been able to successfully combine the dual practices of production and costume design for film and television.

The sum total of her achievements from each of these career pursuits is impressive and when combined become extraordinary. Patricia’s costume designs have been nominated five times by the Academy of Motion Picture Arts and Sciences for works as diverse as Days of Heaven, The Elephant Man, Victor/Victoria, 2010, and Sunset. But with all her accomplishments she still proudly refers to herself as “just a working housewife from Van Nuys,” and we would venture to add, “a single working-mother who raised five children without assistance” as well.

Patricia began her career in the film industry as a stock girl in the wardrobe department of MGM Studios. She worked her way up through that department eventually securing the lead position of costumer and finally that of costume designer creating works such as The Candidate, The Sunshine Boys, The Missouri Breaks, Silent Movie, High Anxiety, California Suite, Frances, Four Friends, Scarface, and Micki + Maud to name but a few.

Patricia had designed a number of independent productions in her dual roles as the production and costume designer but it was with Blue Velvet in 1986 that she was able to finally gain formal recognition as a production designer. Through her tenacious will and spirit she overcame the obstacles and barriers of the day gaining Union membership and recognition within the Society of Motion Picture and Television Art Directors, the predecessor of today’s Art Directors Guild. Patricia went on to design a number of independent productions, serving seamlessly in her dual capacities. Her work with director David Lynch alone spans more than two decades collaborating on such Lynch classics as Wild at Heart, the pilot for Twin Peaks, and Lost Highway.

Patricia’s other dual production and costume design credits include Amos & Andrew, The Journey of August King, The Hi-Lo Country, Delivering Milo, The Return to Lonesome Dove, The Singing Detective, and The Assassination of Jesse James.

Focusing on the story’s details, nuances and the need to create a history and back-story that is relevant to the character’s journey are all central to the collaboration between the production and costume designer. These designers are the first of the production’s creative team to translate and visualize the story and its characters into a tangible reality. Patricia has always been meticulous in the preparations of her films, focusing on the details as well as the big picture. And though in large gatherings one might find her shy, when it comes to the pursuit of her work she is always bold, outspoken and courageous. But it is for Patricia Norris’ professionalism, courage and honesty, and most importantly her life’s story and its message of hope, that the Art Directors Guild now comes to honor and celebrate her continuing career with its Lifetime Achievement recognition.

LIFE

TIM

E A

CHEI

VEM

ENT

AW

AR

DSILV

ER SPON

SOR

SECRETS IN THE WALL

PRODUCTION DESIGNER ROBB WILSON KING

ART DIRECTOR NELSON ANDERSON

GRAPHIC DESIGNER STEVEN MAES

SET DECORATOR SANDyHA HUTCHINSON

EXCELLENCE IN PRODUCTION DESIGNFOR A TELEVISION MOVIE OR MINISERIES 2010

THE

NO

MIN

EES

28 29

REVENGE OF THE BRIDESMAIDS

PRODUCTION DESIGNER MARCIA HINDS

ASSISTANT ART DIRECTORS JOHN SANCHEzKRISTIN LEKKI

GRAPHIC DESIGNER TRINH VU

SCENIC ARTIST SUE M. FORD

SET DECORATOR ELLAN BRILL

SILVER SPO

NSO

R

30 31

Inspired by Ray Harryhausen’s miraculous effects in JASON AND THE ARGONAUTS (1963) and fueled by a lifelong interest in stage magic and sleight-of-hand, visual effects supervisor and director of photography BILL TAYLOR ASC began his career as an optical cameraman specializing in blue screen compositing.

In 1974 he created optical effects (and title song lyrics) for John Carpenter and Dan O’Bannon’s ultra-low-budget DARK STAR; in the same year he began work at Universal Studios Matte Department as the cameraman for the renowned Matte Artist Albert Whitlock, a longtime mentor. His future business partner Syd Dutton came on board a month later.

THE HINDENBURG (1975), Taylor’s and Dutton’s first film with Whitlock, received the Oscar for visual effects. When Whitlock retired in 1985, Taylor and Dutton founded Illusion Arts, where they earned credits on nearly 200 films.

Notably, Taylor served as on-set visual effects supervisor on THE FAST AND THE FURIOUS (2001), BRUCE ALMIGHTY (2003), and CASANOVA (2005). More recently Bill and Syd Dutton co-supervised MILK (2008) for which they created more than 150 “invisible” shots. As Illusion Arts wound up its 26 year run, the company completed dozens of shots for Michael Mann’s PUBLIC ENEMIES for supervisor Robert Stadd and some key environments for GI JOE.

Bill also worked as second unit or models unit cinematographer for DAYLIGHT (1996), CLOCKSTOPPERS (2002), SERENITY (2005), THE NANNY DIARIES (2007), RAMBO (2008), and SOUL MEN (2008).

He is the co-author (with another mentor, Petro Vlahos) of the chapters on blue-screen and green-screen compositing in both the “American Cinematographer Manual” and the “Visual Effects Society Handbook”. Taylor was the founding co-chair of the Motion Picture Academy Science and Technology Council, and is in his fifth term as Academy Governor representing the Visual Effects Branch, where he chairs the Executive Committee. Taylor has received a Saturn, an Emmy and a Motion Picture Academy Technical Achievement Award. He is a Life Member of the Visual Effects Society, and the recipient of the Society’s 2009 Founder’s Award. Both Bill and Syd Dutton were awarded honorary degrees from the Academy of Art University in San Francisco.

Taylor’s speaking engagements have included many appearances at the USC and UCLA film schools and the American Film Institute, as well as talks for the Society of Optical Engineers, the Society of Motion Picture and Television Engineers, the National Film Board of Canada, and the Entertainment Imaging Conference in Kanazawa, Japan. Bill twice served as the Host of the Visual Effects Theater at ShowBiz Expo.

In his spare time, Taylor collects and photographs unusual clocks and continues to create stage illusions for performers around the world.

Bill will always be grateful to his mentors Petro Vlahos, the late Lin Dunn ASC and to the late Al Whitlock.

Syd Dutton, co-owner of Illusion Arts, was born in San Francisco. His talents were recognized at an early age and his personal ambition to improve his artistic skills followed him through high school to studying art at U.C. Berkeley. There, he received his B.A. and Master’s Degrees.

Soon after graduation, Dutton’s interests broadened to include film making, and he moved to Los Angeles. Starting off in the mailroom at Universal Studios, he was first exposed to the art of matte painting through daily visits to the studio of veteran matte painter Albert Whitlock. Before long, Dutton began nearly decade in the department, initially as Whitlock’s assistant matte artist.

Syd worked on many films and television shows at Universal, including: “The Hindenburg,” which won an Academy Award for Visual Effects; “Dune;” and the television mini-series “A.D.,” which won an Emmy for Special Visual Effects.

After Whitlock’s retirement, Dutton, along with his colleague (Director of Photography Bill Taylor), formed Illusion Arts. The two men were joined by the same talented staff with whom they had worked at Universal Studios.

One of Illusion Arts’ first major assignments was to create special effects for the new version of the television series “The Twilight Zone.” Today, this still remains one of Dutton’s fondest projects.

Syd feels that the most successful special effects are those the audience does not realize are effects at all. He strives for realism, whether it is recreating the past in an ancient Roman city or imagining a future world.

Dutton has worked for a diverse group of the top directors, including: Martin Scorsese, Terry Gilliam, Wolfgang Peterson, Robert Redford, George Roy Hill, Edward Zwick, Mel Brooks, Richard Attenborough, Frank Oz, Rob Cohen, Mark Rydell, Rob Reiner, Michael Mann, Gus Van Sant, Stephen Sommers, M. NightShyamalan, Forest Whitaker, and Mike Nichols.

Recent films on which Syd has worked include: “Blood Diamond” for Warner Brothers, “Miami Vice” for Universal, “The Bucket List” for Warner Brothers, “Public Enemies” for Universal, “Zombieland” for Columbia Pictures, “Karate Kid” for Columbia Pictures, and Sophia Coppola’s “Somewhere” for Universal.

In 2005, Dutton received an honorary doctorate degree from the San Francisco School of Art for his contribution to his craft.

BILL TAyLORSyD DUTTON

CIN

EMAT

IC IM

AG

ERy

AW

AR

DCIN

EMATIC IM

AG

ERy A

WA

RD the art Directors Guild’s is deeply honored to present our most

coveted honorary outstanding contribution to cinematic imagery award to Syd Dutton and Bill Taylor. For the first time this award

is presented to two extraordinarily talented individuals who as partners rewrote and forever changed the artistry of visual effects.

32 33

EXCELLENCE IN PRODUCTION DESIGN FOR A CONTEMPORARY FEATURE FILM 2010

BLACK SWAN

PRODUCTION DESIGNER THERESE DEPREz

ART DIRECTOR DAVID STEIN

GRAPHIC DESIGNER DERRICK KARDOS

SCENIC ARTIST GREG SULLIVAN

SET DECORATOR TORA PETERSON

THE SOCIAL NETWORK

PRODUCTION DESIGNER DONALD GRAHAM BURT

ART DIRECTORS CURT BEECH KEITH P. CUNNINGHAM • ROByN PAIBACARL SPRAGUE

SET DESIGNERS AARON HAyETHEODORE SHARPS • RANDALL D. WILKINSJANE WUU • FANTE zAMORA

STORYBOARD ARTISTS RICHARD BENNETTMATTHEW MERENDA

ILLUSTRATOR JOANNA BUSH

GRAPHIC DESIGNER DAVID SCOTT

SET DECORATOR VICTOR J. zOLFO

THE

NO

MIN

EES

THE FIGHTER

PRODUCTION DESIGNER JUDy BECKER

ART DIRECTOR LAURA BALLINGER GARDNER

ASSISTANT ART DIRECTOR JEREMy ROSENSTEIN

ILLUSTRATOR ISRAEL JAVIER AMEIJEIRAS

GRAPHIC DESIGNER KEVIN RAPER

KEY SCENIC DAN COURCHAINE

SCENIC FOREMAN MARy HOPKINS

CAMERA SCENIC RALPH CONTRADO

SCENIC ARTISTS ROMINA DIAz-BRARDALORI HRUSKA • DAVID COSTELLODAVID RICKSON • KIM NELSON CRAIG PASCO

SET DECORATOR GENE SERDENA

EXCELLENCE IN PRODUCTION DESIGN FOR A CONTEMPORARY FEATURE FILM 2010

34 35

THE

NO

MIN

EES

THE TOWN

PRODUCTION DESIGNER SHARON SEyMOUR

ART DIRECTOR PETER BORCK

SET DESIGNER GEORGE R. LEE

GRAPHIC ARTIST BRANDON SMITH

SCENIC CHARGE JOSEPH BARILLARO

SET DECORATOR MAGGIE MARTIN

127 HOURS

PRODUCTION DESIGNER SUTTIRAT LARLARB

ART DIRECTOR CHRIS DE MURI

SET DESIGNER LINDEN SNyDER

SCENIC ARTIST TyLER ASTROPE

SET DECORATOR LES BOOTHE

36 37

THE

NO

MIN

EES

ALICE IN WONDERLAND

PRODUCTION DESIGNER ROBERT STROMBERG

SUPERVISING ART DIRECTOR STEFAN DECHANT

ART DIRECTORS TODD CHERNIAWSKyANDREW JONES • MIKE STASSI

ASSISTANT ART DIRECTORS KASRA FARAHANISCOTT HERBERTSON

LEAD SET DESIGNER BILLy HUNTER

SET DESIGNERS • SCOTT BAKERTAMMy LEE • RICHARD MAySJEFF MARKWITH • DAVID MOREAUANNE PORTER

ILLUSTRATORS DAWN BROWN-MANSERDyLAN COLE • SETH ENGSTROMSCOTT LUKOWSKI • WARREN MANSER JAMES MARTIN • STEVE MESSINGCRAIG SHOJI • DAPHNE yAP

LEAD MODEL MAKER JASON MAHAKIAN

MODEL MAKERS JEFF FROSTGREG JEIN • BRETT PHILLIPS

SET DECORATOR KAREN O’HARA

EXCELLENCE IN PRODUCTION DESIGN FOR A FANTASY FEATURE FILM 2010

HARRY POTTER AND THE DEATHLY HALLOWS, PART I

PRODUCTION DESIGNER STUART CRAIG

SUPERVISING ART DIRECTOR NEIL LAMONT

SENIOR ART DIRECTOR ANDREW ACKLAND-SNOW

ART DIRECTORS MARK BARTHOLOMEWAL BULLOCK • GARy TOMKINSHARRIET STOREy • NIC HENDERSONMARTIN FOLEy • MOLLy HUGHESCHRISTIAN HUBAND • KATE GRIMBLEOLIVER ROBERTS

ON-SET ART DIRECTOR STEPHEN SWAIN

ASSISTANT ART DIRECTORS PETER DORMEASHLEy WINTER

SET DESIGNERS ALEX SMITHAMANDA LEGGATT • ANDREW PALMEREMMA VANE • JULIA DEHOFF

ILLUSTRATORS ADAM BROCKBANKANDREW WILLIAMSON • PETER MCKINSTRyPAUL CATLING

GRAPHIC DESIGNERS MIRAPHORA MINAEDUARDO LIMA

SCENIC ARTISTS MARCUS WILLIAMSMATT WALKER

SET DECORATOR STEPHANIE MCMILLIAN

INCEPTION

PRODUCTION DESIGNER GUy HENDRIX DyAS

SUPERVISING ART DIRECTORS BRAD RICKERFRANK WALSH

ART DIRECTORS LUKE FREEBORNDEAN WOLCOTT

ASSISTANT ART DIRECTOR JOSH LUSBy

SET DESIGNERS MARK HITCHLERGREG HOOPER • BOB FECHTMANLARRy HUBBS • SAM PAGE

ILLUSTRATOR NATHANIEL WEST

GRAPHIC DESIGNER WILL ELISCU

SET DECORATORS LARRy DIASDOUG MOWAT

TRON: LEGACY PRODUCTION DESIGNER DARREN GILFORD

ART DIRECTORS KEVIN ISHIOKAMARK MANSBRIDGE • GRANT VAN DER SLAGTBEN PROCTER • SEAN HAWORTH

ASSISTANT ART DIRECTOR KEVIN LOO

SET DESIGNERS BENJAMIN EDELBERGJOE HIURA • ROB JOHNSONLUIS HOyOS • ANDREW REEDER

ILLUSTRATORS DAVID LEVyNEVILLE PAGE • DANIEL SIMONED NATIVIDAD • PHIL SAUNDERSDyLAN COLE

GRAPHIC DESIGNER DAVE SCOTT

SET DECORATOR LIN MACDONALD

THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER

PRODUCTION DESIGNER BARRy ROBISON

SUPERVISING ART DIRECTOR IAN GRACIE

ART DIRECTORS MARK ROBINSKAREN MURPHy • MARCO NERO

ASSISTANT ART DIRECTOR JACINTA LEONG

ILLUSTRATOR MIN yUM

SCENIC ARTIST MATT CONNERS

SET DECORATOR REBECA COHEN

38 39

THE

NO

MIN

EES

EXCELLENCE IN PRODUCTION DESIGN FOR A FANTASY FEATURE FILM 2010

40 41

EXCELLENCE IN PRODUCTION DESIGN FOR A PERIOD FEATURE FILM 2010

TRUE GRIT

PRODUCTION DESIGNER JESS GONCHOR

SUPERVISING ART DIRECTOR CHRISTINA WILSON

ART DIRECTOR STEFAN DECHANT

SET DESIGNERS ADELE PAUCHEJEFF ADAMS JOHN FRICK

ILLUSTRATOR GREGORy HILL

GRAPHIC DESIGNER ELLEN LAMPL

SCENIC ARTIST THOMAS E. BROWN

SET DECORATOR NANCy HAIGH

THE KING’S SPEECH

PRODUCTION DESIGNER EVE STEWART

SUPERVISING ART DIRECTOR DAVID HINDLE

ART DIRECTOR LEON MCCARTHy

STANDBY ART DIRECTOR NETTy CHAPMAN

GRAPHIC DESIGNER AMy MERRy

STORYBOARD ARTIST DOUGLAS INGRAM

SET DECORATOR JUDy FARR

THE

NO

MIN

EES

SHUTTER ISLAND

PRODUCTION DESIGNER DANTE FERRETTI

SUPERVISING ART DIRECTOR ROBERT GUERRA

ART DIRECTORS CHRISTINA WILSONMAX BISCOE

ASSISTANT ART DIRECTORS HINJU KIMMARION KOLSBy • BARBRA S. MATISPATRICIA WOODBRIDGE

SCENIC FOREPERSONS GARF BROWNSEAN BERNARD • ALEJANDRA MARTINEzHAVEN STOREy

SCENIC ARTISTS TONy APONTEERIN ELIzABETH BOWMAN • RALPH CONTRADOPATRICK GLOVER • HANNAH KINGMITCHELL LANDSMAN • ROBERT T. MCPHERSONPETER OKTAVEC • KATHERINE PARKERRANDy L. PARISIAN • CRAIG S. PASCOJEREMy M. PEREIRA • MIKHAIL ROMANOVJOHN S. SCHLICTER • RAE SIGNERTERRy SyNNOTT • JAMES TOLMANPETER TUPIzA

SET DECORATOR FRANCHESCA LO SCHIAVO

42 43

EXCELLENCE IN PRODUCTION DESIGN FOR A PERIOD FEATURE FILM 2010

ROBIN HOOD

PRODUCTION DESIGNER ARTHUR MAX

SUPERVISING ART DIRECTOR JOHN KING

SENIOR ART DIRECTORS DAVID ALLDAyRAyMOND CHAN

ART DIRECTORS MARK HOMESADAM O’NEILL • MATT ROBINSONMIKE STALLION • TOM STILLMARK SWAIN • REMO TOzzIBEN MUNRO

SET DECORATING ART DIRECTOR KAREN WAKEFIELD

SET DECORATOR SONJA KLAUS

GET LOW

PRODUCTION DESIGNER GEOFFREy KIRKLAND

ART DIRECTOR KOREy MICHAEL WASHINGTON

STORYBOARD ARTIST CHRIS HUNTER

SCENIC CHARGE JIM PASSANANTE

SCENIC FOREMAN SEAN BERNARD

SCENIC ARTISTS KEVIN P. FLEMINGLEE IVEy • CyNTHIA JORDAN

SET DECORATOR FRANK GALLINE

THE

NO

MIN

EES

44 45

MICHEL LEVESQUE1943-2010

PETER JAMISON 1944-2010

JIM REyNOLDS1926-2010

MT BRyANT1928-2010

JOHN JEFFRIES1936-2010

ROBERT BOyLE1909-2010

JOHN GRAySMARK1935-2010

ISMAEL CARDENAS 1967-2010

IN M

EMO

RIA

M

46 47

EVENT CO-PRODUCERSDawn SnyderThomas Wilkins

EVENT COMMITTEERuth AmmonMarjo BernayScott EngeGerald LehtolaJohn SabatoAugust SantistevanMichele SefmanRobert StrohmaierThomas A. Walsh

PRODUCTION CREDITSEvent Production, Ticket Sales & Sponsorship - plan AShow Director - Lionel PasamonteStage Manager - Josh WaderTalent Stage Manager - Kelly LovePublic Relations - Murray Weissman & AssociatesTalent Executive - Robin KatzmanEntertainment - Johnny Crawford and His OrchestraEditing: Dennis Welch Jack Tucker, ACE Michael Sheridan, ACE Patrea Patrick Jonghun Park Layne HurleyHall of Fame Reel Produced by Dave Blass and Dennis WelchLifetime Achievement Reel Produced by Robert StrohmaierCinematic Imagery Reel Produced by Dennis WelchBallots Certified by Votenet SolutionsVideo Production, Projection Equipment and Services – Norm Levin & CompanyLighting Rentals and Technicians -- AVT Event Technologies Sound – AVT Event Technologies Transportation - Aloha Limousine ServiceTeleprompter - Computer Prompting Services, Inc.Awards Programs Printer - Prestone Graphics Floral Arrangements – Andres Floral and Event Design

SPECIAL THANKS TOScott Enge - Scenic DesignD Martyn Bookwalter – Lighting DesignAugust Santistevan - Invitation Design, Awards Program Design & Editor, Awards Title Screens Design Astek Inc./On Air Designs Dazian Fabrics – DraperyDenise Okuda – Assistant Events ManagerMike OkudaLibby Woolems – The Acme Local 33, IATSEDangling Carrot CreativeGreg (Tiny) HamlinSwarovski - For The Loan of Crystals

OFFICERS AND EXECUTIVE BOARDThomas A. Walsh – PresidentChad Frey – Vice PresidentLisa Frazza – SecretaryCate Bangs – Treasurer Stephen Berger - Trustee Casey Bernay – Trustee Marjo Bernay - TrusteeEvans Webb – Trustee

C. Scott Baker, Pat De Greve, Michael Denering, Mimi Gramatky, Billy Hunter, Corey Kaplan, Gavin Koon, Adolfo Martinez, Joseph Musso, Denis Olsen, John Shaffner, Jack Taylor, Jr.

STAFFScott Roth – Executive DirectorJohn Moffitt – Associate Executive DirectorPeter Koczera – Organizer and Field RepresentativeLydia Zimmer – Operations DirectorCynthia Paskos – Operations ManagerMarjo Bernay – Manager, Awards & EventsCasey Bernay, Dana Bradford, Nicholas Hinds, Sandra Howard, Sandy Johnson, Laura Kamogawa, Nicki La Rosa, Christian McGuire, Nicole Oeuvray, Debbie Patton, Adrian Renteria, Alexandra Schaaf

ART DIRECTORS COUNCILThomas A. Walsh – ChairJohn Shaffner – Vice ChairCorey Kaplan – SecretaryJack Taylor, Jr. – TreasurerStephen Berger – TrusteeJoseph Garrity, Adrian Gorton, Mimi Gramatky, John Iacovelli, Molly Joseph, Greg Melton, Jay Pelissier, Jim Wallis, Tom Wilkins

THE

ART

DIR

ECTO

RS G

UIL

D

48 49

50 51

52