Making Sure Julia Roberts Doesn’t Slip and Hollywood's Shortest Actors Look Tall: A Q&A with the 2013 Oscars’ Set Designer
Derek McLane. BY JOAN MARCUS.
Tony Award winner Derek McLane has designed the sets of many a Broadway musical—including Grease, Ragtime, andThe Pajama Game—so it makes sense that the Harvard- and Yale-educated theater designer should bring his expertise to this year’s Academy Awards, which will pay homage to music, specifically movie musicals. Already it has been announced that Renée Zellweger, Catherine Zeta-Jones, Queen Latifah, and Richard Gere will reunite for a special Chicago number. Barbra Streisand will return to the stage for her first performance at the Academy Awards in 36 years. Dreamgirls and Les Misérables are expected to be represented in a music-number capacity. And Adele, as part of a 50th-anniversary tribute to the James Bond film franchise, will perform “Skyfall” live for the first time ever. In preparation for the event, which will take place this Sunday at the Dolby Theatre in Hollywood, McLane has been working on the sets since October—consulting with host Seth MacFarlane, drawing inspiration from 30s- and 40s-era musicals, and secretly tweaking the venue’s seating to quicken up the ceremony’s historically slow pace.
Between last-minute meetings a few days ago, McLane phoned the Hollywood Blog and told us about slip-proofing the Dolby Theatre’s stage, whether Jack Nicholson’s seat has special reclining capabilities, and the top-secret James Bond tribute.
Julie Miller: How does set-designing for the Oscars differ from set- designing for a Broadway show?
Derek McLane: On a Broadway show, we start with a set story or set script. For the Oscars, we are creating our own narrative, a much looser narrative than you would have for a Broadway show. Another difference is that a Broadway audience sits a fixed distance from the stage. At the Oscars, because we have a lot of close-ups, you see the scenery from a distance, so it has to look great from both a distance and up close.
What is the narrative for this year’s show, and how much was it informed by the host, Seth MacFarlane?
Seth has been involved in a lot of the design meetings. He’s really been amazing. One of the main themes of the show is the music of the movies. That encompasses movie scores, songs written for movies, and, of course, Broadway musicals. The design riffs on a couple of those ideas throughout. Some in specific ways but mostly in very abstract ways. One of the things I looked at a lot was Busby Berkeley movies and movie musicals of the 30s and 40s. That seems like the golden age of movie musicals.
What specifically about Berkeley’s movies inspired you?
His movies created these amazing patterns, usually with dancers, but the patterns were usually kaleidoscope-shaped. I thought they were really beautiful. And [producers] Craig [Zadan] and Neil [Meron]were really enamored with those. Those inspire a lot of visuals for the eyes, both the kaleidoscope aspect and the repeated patterns.
Between last-minute meetings a few days ago, McLane phoned the Hollywood Blog and told us about slip-proofing the Dolby Theatre’s stage, whether Jack Nicholson’s seat has special reclining capabilities, and the top-secret James Bond tribute.
Julie Miller: How does set-designing for the Oscars differ from set- designing for a Broadway show?
Derek McLane: On a Broadway show, we start with a set story or set script. For the Oscars, we are creating our own narrative, a much looser narrative than you would have for a Broadway show. Another difference is that a Broadway audience sits a fixed distance from the stage. At the Oscars, because we have a lot of close-ups, you see the scenery from a distance, so it has to look great from both a distance and up close.
What is the narrative for this year’s show, and how much was it informed by the host, Seth MacFarlane?
Seth has been involved in a lot of the design meetings. He’s really been amazing. One of the main themes of the show is the music of the movies. That encompasses movie scores, songs written for movies, and, of course, Broadway musicals. The design riffs on a couple of those ideas throughout. Some in specific ways but mostly in very abstract ways. One of the things I looked at a lot was Busby Berkeley movies and movie musicals of the 30s and 40s. That seems like the golden age of movie musicals.
What specifically about Berkeley’s movies inspired you?
His movies created these amazing patterns, usually with dancers, but the patterns were usually kaleidoscope-shaped. I thought they were really beautiful. And [producers] Craig [Zadan] and Neil [Meron]were really enamored with those. Those inspire a lot of visuals for the eyes, both the kaleidoscope aspect and the repeated patterns.
COURTESY OF DEREK MCLANE.
On that note, are those tiny Oscar statuettes that you put in the Swarovski- crystal curtain? (Blogger’s note: If you look closely at the sketch above, you can spot them.)
They are! But they are not actually tiny, although you would not be able to tell from the sketch. They are actually slightly bigger than the real Oscar. That’s a perfect example of what we were talking about, because in close-up, you can see that they are Oscars, but from a distance, they just form a kind of beautiful pattern. That feels both Busby Berkeley and very contemporary to me.
What’s the most difficult aspect of design, aside from the spatial concerns you mentioned?
It’s an intensely quick process. I really started working on this in earnest in October. It’s a lot of stuff to figure out in a really short period of time. Also, it takes a certain number of people to put on an Oscar show, the various departments that are involved—like the people who create video content to figuring out candle locations to figuring out the entrances of presenters, stars, and various musical acts. It’s an enormously complicated process which involves collaboration with a huge number of people to make it happen.
You mentioned presenters’ entrances. How come it seems like no one ever has any idea how to exit the stage?
[Laughs.] I think it’s because there are so many different exit options. Often, I think it is the people who have won, and they are in such a state of shock from having won that they don’t really know what is happening. That’s why we have people up there to help guide them offstage afterward.
Barbra Streisand is performing this year. She is famously particular about what angles she is filmed from and other performance details . . . Has she given you any feedback about the sets for her number?
We showed her the design for the [number] that she is doing, and she was enormously enthusiastic. I’ve only heard positive things from her and am absolutely looking forward to seeing her onstage.
There has been some secrecy about the James Bond–tribute portion of the show, specifically about whether the actors who have played James Bond will appear together.
Uh huh . . .
I know you can’t discuss that, but can you please discuss the most James Bond–ian tricks of your set design?
I think the design we have for that segment really captures the feeling of those title sequences of those great Bond films from the 60s and 70s. They had some of the most spectacular title sequences and songs associated with them. It’s so much fun to be able to just watch those clips and listen to the songs. They are amazing.
Did you have to get approval for those sets from the James Bond estate?
Yes, they’ve been involved and extremely helpful.
On another note, Hollywood actors are notoriously shorter than they seem in films. Did you consider how to make them seem taller when designing the stage? Do you put as much thought behind designing the podium as presidential-debate coordinators do?
We actually won’t have a podium this year! That’s one thing that we don’t have to worry about. I would love to say that we surround [the short actors] with tiny furniture, but we don’t really have any furniture on set. It’s really just a question of camera angle and shooting them in such a way that is complimentary to them.
I was surprised to find out that you also design the audience seating. What kind of changes did you make in the Dolby Theatre?
We’ve done one little minor adjustment to facilitate the speed of some of the awards. I don’t think it is anything that the audience will be aware of. We were just trying to figure out ways to get winners to the stage more quickly and make the pace of the show as exciting as possible.
Did you insert more aisles or those moving airport walkways? Or is it top secret?
It’s kind of top secret. I will say that [producers] Craig [Zadan] and Neil [Meron] and I did spend a lot of time looking at past shows and looking at places where we thought we might be able to trim 2 seconds here or 20 seconds there so that the pace of the show is as tight as we can make it.
Jack Nicholson always has the best seat in the house. We’d like to imagine that over the years, he’s made some special modifications to his chair. Maybe a cup or flask holder. A special compartment to hold his wrap- around sunglasses. Reclining capabilities and better armrests. Can you confirm this . . . or does he sit in the same type of seat as everyone else?
[Laughs.] As far as I know, he gets the same seat as everyone else . . . the ones that are here all year round.
Disappointing! From home, the stage always appears so slick and shiny. How do you ensure that Julia Roberts and the other actresses in six-inch heels don’t wipe out on their way to the microphone?
Well, we make the surface of the floor shiny because it looks better that way, no question about it. The major thing that I’ve done is avoid putting staircases in the set. So really the only steps are the ones that get the winner onstage, but we won’t have any staircases on set, because I’ve heard from so many people that big, long staircases are the enemies of women in gowns and high heels.
Will you be watching in house on Sunday, and if so, will you be able to relax and enjoy yourself at all?
I’ll probably just be tense and nervous, but I will be sitting in the house. At the moment, I am really looking forward to watching the show, though, and seeing who will win. It’s an amazing crop of movies and talent this year. But I will probably be nervous the entire time.
Read The Article Here
They are! But they are not actually tiny, although you would not be able to tell from the sketch. They are actually slightly bigger than the real Oscar. That’s a perfect example of what we were talking about, because in close-up, you can see that they are Oscars, but from a distance, they just form a kind of beautiful pattern. That feels both Busby Berkeley and very contemporary to me.
What’s the most difficult aspect of design, aside from the spatial concerns you mentioned?
It’s an intensely quick process. I really started working on this in earnest in October. It’s a lot of stuff to figure out in a really short period of time. Also, it takes a certain number of people to put on an Oscar show, the various departments that are involved—like the people who create video content to figuring out candle locations to figuring out the entrances of presenters, stars, and various musical acts. It’s an enormously complicated process which involves collaboration with a huge number of people to make it happen.
You mentioned presenters’ entrances. How come it seems like no one ever has any idea how to exit the stage?
[Laughs.] I think it’s because there are so many different exit options. Often, I think it is the people who have won, and they are in such a state of shock from having won that they don’t really know what is happening. That’s why we have people up there to help guide them offstage afterward.
Barbra Streisand is performing this year. She is famously particular about what angles she is filmed from and other performance details . . . Has she given you any feedback about the sets for her number?
We showed her the design for the [number] that she is doing, and she was enormously enthusiastic. I’ve only heard positive things from her and am absolutely looking forward to seeing her onstage.
There has been some secrecy about the James Bond–tribute portion of the show, specifically about whether the actors who have played James Bond will appear together.
Uh huh . . .
I know you can’t discuss that, but can you please discuss the most James Bond–ian tricks of your set design?
I think the design we have for that segment really captures the feeling of those title sequences of those great Bond films from the 60s and 70s. They had some of the most spectacular title sequences and songs associated with them. It’s so much fun to be able to just watch those clips and listen to the songs. They are amazing.
Did you have to get approval for those sets from the James Bond estate?
Yes, they’ve been involved and extremely helpful.
On another note, Hollywood actors are notoriously shorter than they seem in films. Did you consider how to make them seem taller when designing the stage? Do you put as much thought behind designing the podium as presidential-debate coordinators do?
We actually won’t have a podium this year! That’s one thing that we don’t have to worry about. I would love to say that we surround [the short actors] with tiny furniture, but we don’t really have any furniture on set. It’s really just a question of camera angle and shooting them in such a way that is complimentary to them.
I was surprised to find out that you also design the audience seating. What kind of changes did you make in the Dolby Theatre?
We’ve done one little minor adjustment to facilitate the speed of some of the awards. I don’t think it is anything that the audience will be aware of. We were just trying to figure out ways to get winners to the stage more quickly and make the pace of the show as exciting as possible.
Did you insert more aisles or those moving airport walkways? Or is it top secret?
It’s kind of top secret. I will say that [producers] Craig [Zadan] and Neil [Meron] and I did spend a lot of time looking at past shows and looking at places where we thought we might be able to trim 2 seconds here or 20 seconds there so that the pace of the show is as tight as we can make it.
Jack Nicholson always has the best seat in the house. We’d like to imagine that over the years, he’s made some special modifications to his chair. Maybe a cup or flask holder. A special compartment to hold his wrap- around sunglasses. Reclining capabilities and better armrests. Can you confirm this . . . or does he sit in the same type of seat as everyone else?
[Laughs.] As far as I know, he gets the same seat as everyone else . . . the ones that are here all year round.
Disappointing! From home, the stage always appears so slick and shiny. How do you ensure that Julia Roberts and the other actresses in six-inch heels don’t wipe out on their way to the microphone?
Well, we make the surface of the floor shiny because it looks better that way, no question about it. The major thing that I’ve done is avoid putting staircases in the set. So really the only steps are the ones that get the winner onstage, but we won’t have any staircases on set, because I’ve heard from so many people that big, long staircases are the enemies of women in gowns and high heels.
Will you be watching in house on Sunday, and if so, will you be able to relax and enjoy yourself at all?
I’ll probably just be tense and nervous, but I will be sitting in the house. At the moment, I am really looking forward to watching the show, though, and seeing who will win. It’s an amazing crop of movies and talent this year. But I will probably be nervous the entire time.
Read The Article Here
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