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Ventures what i'm working on Laurence Bennett interview by Shirley Hancock LEAN AND TAN, LAURENCE BENNETT LOOKS EVERY BIT THE MOVIE STAR. But as a production designer, Bennett is actually the wizard behind the lens. We all have a sense of what a cinematographer, an editor and a director does, but the production designer’s role is often cloaked in mystery. Bennett’s job is what he calls “the artistic author, responsible for bringing to life the entire world the characters inhabit on film. ennetts film and T credits include the ust-released The Company You Keep and five-time Academy Award-winning The Artist, as well as Crash, The Valley of Elah, Freedom Writers, The Next Three Days, reys Anatomy and Streets. We caught up with Bennett at his restored 1904 farmhouse in Estacada. Here, with his wife, Nina, and a menagerie, Bennett is able to recharge. Your latest movie is the star-packed The Company You Keep (Robert Redford, Shia LaBeouf, Susan Sarandon, Stanley Tucci and Sam Elliott). What was it like to work with one of your idols, Robert Redford? The experience of working with a filmmaker whom I’ve watched on screen for so long, and admire so greatly—professionally and personally—was extraordinary. Redford is incredibly collaborative and very visual; he studied art, painted for some time, and his wife, Sibylle, is a painter. We spent time looking at and discussing imagery in photographs and paintings to set the tone. We spent even more time discussing the script. That’s what we keep coming back to in pursuit of what the picture needs to be, how it needs to look. For one set in particular that had great emotional significance to the characters and story, Bob [Redford] and I traded sketches about how it might be laid out, oriented in the landscape, and what physical attributes it should have. I found Andrew Wyeth’s work a touchstone for that set. A quintessentially American artist, he imbued even the most simple buildings and objects with history, subtext and resonance. Can the discerning viewer recognize a Laurence Bennett movie? Are there certain consistencies? I honestly don’t know that I’m the right person to answer that. While there are, of course, ongoing influences on my work, each film is unique in story, setting and tone. I would hope that the design for each responds to its particular needs of subject, themes and period. photo by Andrea Lorimor You say that production designers have the least understood jobs in the cinematic arts, yet aren’t they the most important in terms of how we feel when we walk out of the theater? As one of the visual authors, along with the director and cinematographer, the production designer is responsible for the look of the film. The PD deals with set design, locations, set dressing, props and interfaces with costume, hair, makeup, special effects, stunts and visual effects. Art direction is, I think, the least understood of the cinematic arts because, if a movie is good, the design can easily go largely unnoticed. Our job is to imagine and create a living, breathing, believable world for the story—to support and enhance the story. If the viewer is brought into that world, we have succeeded. 62 <strong>1859</strong> oregon's mAgAzine SEPT OCT <strong>2012</strong>
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