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DS_RK_au08.mov |
| Description |
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Question: How you do you work with the Director or does it completely depend on the project? Answer: I think it depends on the Director. I do quite a bit of work with an opera director called David Poutney, with whom I have done quite a number of productions and he comes along with a piece of, but he doesn't come along, he picks up the piece of paper and gets the envelope out of his pocket and starts sketching things on the back of an envelope. And I've learnt with him that it doesn't pay to totally ignore his sketches because he comes back to that afterwards and says "well that's not what I suggested we did ". The last time we worked together, which was an opera called Genovaga by Schumann which is still being?about to be done in Prague and in Venice, when he sat down to talk to me I got out the envelope and handed it to him and he laughed and declined from drawing anything. I just listened to what he had to say and I took note of what I considered were the important factors of what he said and then totally without any further consultation with him, I designed the set, taking into account the key points that he was making, one of which was imprisonment. I created a space which suggested imprisonment, mind you every place has got imprisonment but this was justified. This, in particular, was one of the defining characteristics of the piece. Other directors I have worked with will say "I think it would be wonderful if we have a green, bright green floor, so you think it's a really rotten idea, about the bright green floor but you don't say anything, you just listen. Then you do your piece of work and you do your design and you give him a sort of shadowy grey/black floor. By the time you show him the design he has forgotten he ever said green, you know, he takes it in and he says "Oh yes I like that". That was just a speech he made about green. Of course if Poutney said green he probably means it, he doesn't usually talk about colour but if he did he would probably mean it and come back to it, but that happens to be this particular person and director. In the majority of cases, you see I have a reputation, I have acquired a reputation of being a designer of ideas and so the directors who have very strong ideas, like Peter Brook for instance, would never come to me, he doesn't need me, he needs a model maker to carry out his ideas, right. The directors who come to me are generally the ones who really want me to have an idea and wait for me to have an idea to come up with that they can then choreograph their production into that space and I like that, I like that, but because I have been around now for so long, I have just broken my half-century, how I work and what the nature of work is, Is now pretty well known so directors who want ideas carried out very precisely according to them probably wouldn't come to me and write me to ask to work for them. |
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DS_20_06_01 (mini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
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4 minutes 12.19 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.