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| Filename |
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DS_SK_au05.mov |
| Description |
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Question: You mentioned briefly about the cost and does the scale of the budget that you have to work with, the company and the backing of the company, does that change your approach dramatically? Answer: I mean obviously you know, if you've got ú100,000, ú200,000 at the RSC or the National, you are going to have a very different attitude as to what you can put on that set and, more importantly, also perhaps not how much, but the quality of the material that you can put on the set than you would at The Young Vic where you might have, you know a ú2,000, ú3,000 budget. You can use the fabrics you want in costumes, you can use real steel instead of something that looks like steel , wood painted with, you know, or doesn't sound right when you clash across it or something, you know, because sound is important on stage as well. I always remember learning that, that the sound of the set is important, you know, but if you have a door that is meant to be made of steel, it is, you know, made of steel when it slams shut, you know, in a prison scene or something, it's not wood sprayed silver. And that's all, we've all had to do it and it's very valid that you know, that you do it like that from the ground up but it does affect the performance. (So you are very conscious of sound when you are designing?) I am yes. And wobbly sets and things like that. |
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DS_18_06_02 INT-06 (mini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
| Rights |
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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. |
| Length |
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1 minute 05.20 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.