Nominees for art direction

'Midnight in Paris''Harry Potter and also the Deathly Hallows - Part II''Hugo''The Artist''War Horse'THE ARTISTLaurence BennettFaithfully re-creating 1927 La on the tight shooting schedule of 35 days was the greatest challenge faced by "The Artist" production designer Laurence Bennett."Prep time was relatively short and also the story so ambitious with what I desired to exhibit,Inch he states. "There have been a lot of sets and thus many locations where a genuine problem was the logistical jigsaw."However with so very little extant of old Hollywood, it had been challenging finding even street corners which had the best feel and look.A black and whitened film presented its very own group of challenges for set decorator Robert Gould, who repainted vintage furnishings and dyed materials in contrasting shades to ensure that colors would look crisp onscreen. After digging through Warner Bros.' research department, Gould searched the prop warehouses of La to locate period-specific lampshades, decorative accents as well as cash registers.Probably the most memorable props, just like a monkey sculpture, were simplest to locate -- it had been more mundane objects like lampshades which were toughest to get within the needed quantity (Gould wound up fabricating about 25% from the lampshades within the film).In France They chateau-like La home of film writer-director Shane Black was changed right into a sprawling mansion location and full of vintage treasures. Gould feels as though "we actually taken the feeling of old Hollywood. there is a whole mystique about old Hollywood and i believe this movie introduced it to existence." --Caroline RyderHARRY POTTER And Also The DEATHLY HALLOWS - PART IIStuart CraigStuart Craig isn't any stranger to Academy awards -- he's three already. So that as they are all for production design, it comes down as no real surprise he stores these questions beautiful hand crafted cabinet in your own home. "Used to do set it up,Inch he confesses. "Although not particularly on their behalf! They are not ostentatiously visible."It might be time for you to make more room for the reason that cabinet: Craig and hang decorator Stephenie McMillan are nominated for Academy awards for fulfillment in art direction this season for "Harry Potter and also the Deathly Hallows: Part 2," the ultimate installment of the franchise which has stored Craig exclusively occupied for ten years.However despite his many years of experience, "Part 2" incorporated several challenges, including creating the falling apart sets to have an extended fight scene. "I was creating a ruin in the ground-up,Inch he states. As well as for this film, he and visual effects supervisor Tim Burke elected to produce a full digital type of the college, instead of using miniatures.Still, if he will get his 4th Oscar, Craig states he'll accept it as being recognition for the "Potter" films. "I can not help but regard it as being an appearance of labor,Inch he states.But Craig's "Potter" jobs are dirty -- next helps build the Harry Potter amusement park at Florida's Universal Studio. "In an exceedingly real sense it has not ended," he states. "It might never finish."-- Randee DawnHUGODante Ferretti "Hugo" marks the legendary Italian designer's ninth nom (he won for "The Aviator" and "Sweeney Todd" with longtime set decorator, collaborator and wife, Francesca Lo Schiavo, who's nommed with him again this season)."Through the years I have done some large movies (with Martin Scorsese) for example 'Kundun' and 'Gangs of NY,' but it was the greatest," he states. "I done it for more than a year, having a team of 12, creating and building from scratch, in the stop and clock tower to Georges Melies' studio and apartment."To create the three dimensional homage towards the miracle of movies to existence, the filmmakers shot in the Sorbonne in Paris for any couple of days, after which gone to live in the U.K., where Ferretti's massive sets taken over six stages at Pinewood and Shepperton, in addition to space at Longcross Galleries. "Creating the stop was the greatest challenge, once we needed to divide it between three different stages, and that we also used a genuine train that people could bring to the set where we'd built the tracks and platform," he states.But building the time tower meant probably the most to Ferretti. "Like a kid within this small Italian town, my friend's father had exactly the same job as Hugo's, taking care of the city clock. Used to do it many occasions with him, then when Marty provided it, I felt it had been about me." -- Iain BlairMIDNIGHT IN PARISAnne Seibel, production design Helene Dubreuil, set decorationsA relatively low quality presented not a problem to author-director Woodsy Allen, who eliminates costly soundstages. He shot "Night time in Paris" positioned on practical locations, but that did not mean cinematographer Darius Khondji just pointed your camera at pre-existing postcard sights from the Town of Light.Production designer Anne Seibel and hang decorator Helene Dubreuil needed to transform most of the locations for Gil's (Owen Wilson) night time sojourns in to the past. Most difficult would be a scene occur the Moulin Rouge cabaret within the 1890s. They chose 125-year-old theater La Cigale to function as a concert venue, and required it in time by setting up an incorrect wooden floor, mirrors, balustrades, drapes, support beams with period lamps along with a large chandelier having a garland of lights.Seibel even inspired Allen to alter the script when she recommended he make use of the Musee des Arts Forains (the Museum of Fairground Art), featuring vintage carousel rides along with other theme park items, for any 20's party scene initially occur a condo.InchMost unique about Woodsy was the trust he place in us," states Seibel, that has reteamed with Khondji and "Paris" costume designer Sonia Grande for Allen's next film "Nero Fiddled." "He did not say much, however when he did, you can tell he really was happy (using the work)."-- Todd LongwellWAR HORSERick CarteDigital set extensions are componen for that course in modern Hollywood films re-creating historic configurations, however, you will not locate them in director Steven Spielberg's The First World War epic "War Equine.""We made it happen that old-fashioned way," states the film's production designer Ron Carter, who won an Oscar for 2009's CGI-heavy "Avatar." "We built it."Also it wasn't only the rustic European cities, farmhouses and military barracks they built on various locations outdoors London. Additionally they made significant modifications towards the landscape, creating a rocky area for that titular equine to plow atop protected parkland in Devon County, and developing a attractive ocean of wheat for any cavalry charge by mounting cut stalks on Foam.The film's most ambitious set would be a 300-by-600-yard fight-ravaged no-man's land built on derelict Wisley Airfield in Surrey, England, with trench systems, branchless trees, barbed wire, ponds and ruts built atop a concealed steel substructure to aid the stars, equipment and galloping equines.The practical sets are answer to Spielberg's spontaneous shooting style. As they was famous for thoroughly storyboarding his shots at the start of his career, nowadays, "he's really coming onto the set creating," states Carter, who lately completed his seventh film using the filmmaker, the approaching biopic "Lincoln subsequently." "When she has stuff that are physically there, it challenges him to complete several things he i never thought of." -- Todd LongwellEye around the Academy awards: Art Direction, Costume Design & MakeupCostumes Art Direction MakeupDivine costume design once more at FIDM Contact the range newsroom at news@variety.com