- Oops!Something went wrong.Please try again later.
This season’s Oscar race for production design features the ’30s recreation of LA in black-and-white for David Fincher’s “Mank,” the forward-thinking futuristic designs for George Clooney’s “The Midnight Sky,” the brutalist worldbuilding for Christopher Nolan’s time-inverting “Tenet,” and the opulent, Tang dynasty-era sets for “Mulan.”
“Mank” has the inside track, though, for meticulously resurrecting the world of washed up alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman), who’s struggling to churn out a first draft of “Citizen Kane.” Oscar-winning production designer Don Burt (“The Curious Case of Benjamin Button”) had to think in terms of monochromatic design to authentically return to Hollywood’s Golden Age. Fortunately, set decorator Jan Pascale used the monochromatic filter on her iPhone for shooting set dressing tests, and that helped shape the palette of warm earth tones. Unable to shoot at the real Hearst Castle in San Simeon (for Louis B. Mayer’s birthday party and the pivotal costume ball), they instead used an LA stage, where walls were rearranged and fireplaces, columns, and paneling were switched to accommodate separate sets. And Burt and Pascale created a Gothic vibe with the interior design and extravagant objects collected from around the world.
More from IndieWire
For “The Midnight Sky,” which drifts between isolated scientist Clooney in an Arctic outpost, and the astronauts returning home to an environmental disaster, Oscar-nominated production designer Jim Bissell (“Goodnight, and Good Luck”) focused on The Aether space probe and the Barbeau Observatory, the film’s two central environments. For the probe, he created a baton design with individual units of inflatable material held together by an exoskeleton. In addition, he utilized topological optimization for an organic way of engineering the material layout and performance of the probe. For the cold-looking observatory, he designed it like a brain to symbolize the troubled mindscape of Clooney.
For “Tenet,” Nolan’s five-time Oscar-nominated production designer, Nathan Crowley, utilized a series of iconic buildings, locations, and sets as a brutal backdrop for a war between past and present. The opening opera house heist was shot in a sprawling venue in Tallinn, Estonia, overlooking the Baltic Sea; the luxury superyacht of baddie Kenneth Branagh was transformed into an industrial-looking lair, which sat off the coast of Italy; and the climactic, synchronized attack with two teams moving through time in opposite directions was shot primarily at an old iron ore mine in the Southern California desert, with existing structures piled next to several full-size constructions and large-scale models to enhance the already immense set.
And, for “Mulan,” Oscar-winning production designer Grant Major (“The Lord of the Rings: The Return of the King”) recreated the vast Emperor’s Throne Room of Jet Li to scale (based on the few surviving buildings from 618 to 907 AD), as well as the large circular hut (yurt) of Jason Scott Lee’s Böri Khan. Everything in the Throne Room, apart from the hanging lanterns made in China, was crafted in the art department workshops, including the sculpted dragons. The yurt, which was built at Kumeu Film Studios in New Zealand, was modeled on a hut from 700 AD and filled with appropriate wolf motifs and plundered treasures.
Another potential frontrunner is “Emma,” the Jane Austen adaptation from director Autumn de Wilde, in which production designer Kave Quinn created a colorful Georgian dollhouse for the titular heroine (Anya Taylor-Joy). After an exhaustive search, they chose the legendary estate, Firle Place, as the crucial country home, and did a lavish home makeover with splashy paint, new wallpaper and drapery. The result was a visual feast, with every room having its own colorful identity to match Emma’s constantly changing, eye popping wardrobe.
Other contenders, meanwhile, include Mark Ricker’s 1927 recreation of Chicago for “Ma Rainey’s Black Bottom” (shot in Pittsburgh); and David Crank’s work on the two Tom Hanks starrers “Greyhound” (refashioning the preserved World War II destroyer-turned museum, the USS Kidd), and “News of the World,” the post-Civil War western about the volatile state of Texas, constructed in and around Santa Fe, New Mexico, where each town contains its own character and storyline.
“The Midnight Sky”
“Da 5 Bloods”
“Ma Rainey’s Black Bottom”
“News of the World”
“One Night in Miami”
“The Trial of the Chicago 7”
“Harley Quinn: Birds of Prey”
“Judas and the Black Messiah”
Key Oscar Indicators
The Academy’s production design branch currently has 445 members, of which 384 are active and 61 are retired. The last black-and-white Oscar winner was “Schindler’s List” in 1993. But the most recent monochromatic nominees include “The Artist” (2011), “Good Night, and Good Luck” (2005), and “Pleasantville” (1998). The Academy, unlike the Art Directors Guild, doesn’t distinguish between contemporary, period, and fantasy, which makes it difficult to gauge comparisons among winners.
Monday, February 1, 2021
Preliminary Oscar voting begins; ADG online voting begins
Wednesday, February 24, 2021
ADG Online voting closes 5:00 pm PT
Thursday, February 25, 2021
ADG nominations announced
Sunday, February 28, 2021
Submission deadline for the Oscars
Friday, March 5, 2021
Oscar nominations voting begins
Wednesday, March 10, 2021
Oscar nominations voting ends 5:00 PM PT
Thursday, March 11, 2021
Final ADG online voting begins
Monday, March 15, 2021
Oscar nominations announced
Wednesday, April 7, 2021
Final ADG online voting ends 5:00 pm PT
Saturday, April 10, 2021
Winners announced at 25th ADG Awards Gala (presented online and streamed worldwide)
Thursday, April 15, 2021
Oscar Nominees Luncheon
Final Oscar voting begins
Tuesday, April 20, 2021
Final Oscar voting ends
Sunday, April 25, 2021
Winners announced at the 93rd Academy Awards (Oscars)
Best of IndieWire