1 00:00:00,200 --> 00:00:04,080 Speaker 1: Across the Desk with Clemens on seven. 2 00:00:04,000 --> 00:00:08,119 Speaker 2: Two, So Across the Desk feature this morning. I'm really 3 00:00:08,160 --> 00:00:13,880 Speaker 2: excited to be hosting set designers. And I'm excited because 4 00:00:14,000 --> 00:00:17,560 Speaker 2: I've worked in a set myself, and I've often wondered 5 00:00:17,720 --> 00:00:21,480 Speaker 2: how do they do this thing? Like what's the creative process? 6 00:00:21,520 --> 00:00:24,599 Speaker 2: And we're looking forward. I'm particularly looking forward to finding 7 00:00:24,640 --> 00:00:27,600 Speaker 2: out more about their work because when we go watch 8 00:00:27,640 --> 00:00:31,040 Speaker 2: a play, or we sit at home for watch that 9 00:00:31,520 --> 00:00:35,080 Speaker 2: favorite TV drama, or maybe we go to the movies, 10 00:00:35,120 --> 00:00:38,720 Speaker 2: we're always focus on the actors and the story, but 11 00:00:38,920 --> 00:00:41,639 Speaker 2: we don't always think about the space that they're in, 12 00:00:41,760 --> 00:00:45,880 Speaker 2: that living room that looks like a real family living room, 13 00:00:46,000 --> 00:00:48,760 Speaker 2: or that stage that suddenly turns into a school or 14 00:00:48,800 --> 00:00:53,760 Speaker 2: a hospital, or or a whole street. The couches, the tables, 15 00:00:53,800 --> 00:00:56,920 Speaker 2: I mean, you name it. All of these details help 16 00:00:57,240 --> 00:00:59,880 Speaker 2: tell the story without saying a word. And that's why 17 00:00:59,880 --> 00:01:02,840 Speaker 2: I said earlier, these are like silent actors, if you will. 18 00:01:03,360 --> 00:01:05,600 Speaker 2: So I'm really looking forward to finding out more about 19 00:01:05,640 --> 00:01:07,839 Speaker 2: their work. And if you're set in the same industry yourself, 20 00:01:07,880 --> 00:01:09,759 Speaker 2: I'd like you to give us a call or send 21 00:01:09,840 --> 00:01:12,320 Speaker 2: us a WhatsUp voice note to share your experience with us, 22 00:01:12,800 --> 00:01:15,399 Speaker 2: and if you've got questions, questions you've always wanted to 23 00:01:15,440 --> 00:01:18,120 Speaker 2: ask set designers, or maybe you want to get into 24 00:01:18,160 --> 00:01:20,640 Speaker 2: the industry and you want to know what do I study? 25 00:01:20,800 --> 00:01:22,880 Speaker 3: What do I focus on? Call us? 26 00:01:22,880 --> 00:01:24,920 Speaker 2: OH one eighty eight three seven O two is the 27 00:01:25,000 --> 00:01:27,800 Speaker 2: number two dial. You can send your WhatsApps on OH 28 00:01:27,880 --> 00:01:31,360 Speaker 2: seven two seven oh two one seven two in studio 29 00:01:31,440 --> 00:01:34,280 Speaker 2: with me this morning, We've got Sam Dell, who is 30 00:01:34,319 --> 00:01:37,840 Speaker 2: a set designer a director at the Set Workshop SEM 31 00:01:37,920 --> 00:01:38,680 Speaker 2: Welcome to the show. 32 00:01:38,720 --> 00:01:40,720 Speaker 4: Good morning, good morning, thank you for having me. 33 00:01:41,040 --> 00:01:42,920 Speaker 3: Yeah, we also have no more day. 34 00:01:43,040 --> 00:01:46,800 Speaker 2: Gay Mascasana, who is a SOFT nominated creative director and 35 00:01:46,880 --> 00:01:50,880 Speaker 2: production designer at mood Board Productions, thank you for making 36 00:01:50,920 --> 00:01:51,360 Speaker 2: time as all. 37 00:01:51,360 --> 00:01:51,760 Speaker 3: Good morning. 38 00:01:51,840 --> 00:01:54,680 Speaker 5: I am excited to be here, excited to have you. 39 00:01:55,320 --> 00:01:58,360 Speaker 2: And we also have Dived maya set designer at the 40 00:01:58,480 --> 00:01:59,840 Speaker 2: JDM Code. 41 00:02:00,360 --> 00:02:01,960 Speaker 3: Thank you for making time as all. Good morning. 42 00:02:03,040 --> 00:02:06,560 Speaker 2: So you guys are not used to being on the forefront. 43 00:02:06,840 --> 00:02:08,800 Speaker 2: I'm sure this is a bit awkward for you, guys. 44 00:02:09,720 --> 00:02:10,600 Speaker 6: Very nervous. 45 00:02:10,800 --> 00:02:14,600 Speaker 2: You create these spaces for the people to wake in them. 46 00:02:15,080 --> 00:02:18,960 Speaker 2: Let's start in the beginning with you, maybe Sam, have 47 00:02:19,080 --> 00:02:22,000 Speaker 2: you always wanted. Did you always know what said design 48 00:02:22,280 --> 00:02:24,080 Speaker 2: is all about when you were young growing up? 49 00:02:24,720 --> 00:02:25,560 Speaker 3: Did you get into it? 50 00:02:25,680 --> 00:02:25,800 Speaker 2: No? 51 00:02:25,919 --> 00:02:26,320 Speaker 4: Not really. 52 00:02:26,320 --> 00:02:30,600 Speaker 7: I studied fine arts and then kind of fell into 53 00:02:30,639 --> 00:02:37,560 Speaker 7: the industry. I started working in commercials. Actually is the 54 00:02:37,639 --> 00:02:43,680 Speaker 7: receptionist answering the phone, And then you know, the directors 55 00:02:43,680 --> 00:02:47,200 Speaker 7: of the company decided that I would probably be better 56 00:02:47,560 --> 00:02:49,120 Speaker 7: somewhere else in the company. 57 00:02:48,760 --> 00:02:50,239 Speaker 3: And sharing ideas with them. 58 00:02:50,440 --> 00:02:53,720 Speaker 7: No, definitely, and then started doing all their research and 59 00:02:53,760 --> 00:02:56,880 Speaker 7: putting together their presentations and stuff like that. 60 00:02:56,919 --> 00:02:59,000 Speaker 3: Fascinating. I started, how about you. 61 00:03:00,440 --> 00:03:04,359 Speaker 5: Well, funny story is, I've always loved performance. So I 62 00:03:04,880 --> 00:03:09,840 Speaker 5: started out at AVDA as an actor, Like literally, I thought, 63 00:03:09,960 --> 00:03:12,880 Speaker 5: this is it? So the naxt thing is they introduced 64 00:03:12,919 --> 00:03:15,720 Speaker 5: us to different disciplines. Then I was like, you know, 65 00:03:15,800 --> 00:03:18,280 Speaker 5: what is this production design? And then I signed up 66 00:03:18,440 --> 00:03:22,160 Speaker 5: for it. I didn't know that films were curated. I 67 00:03:22,240 --> 00:03:24,440 Speaker 5: literally thought things were there, you know what I mean, 68 00:03:25,040 --> 00:03:27,440 Speaker 5: It's natural they walked into somebody's house and it looked 69 00:03:27,520 --> 00:03:29,920 Speaker 5: as is. So I was intrigued, and you know, I 70 00:03:29,960 --> 00:03:32,160 Speaker 5: was like, you know what, I'm doing this, And funny enough, 71 00:03:32,200 --> 00:03:35,080 Speaker 5: it loved me too, and I left performance and I 72 00:03:35,080 --> 00:03:36,080 Speaker 5: went straight into it. 73 00:03:36,400 --> 00:03:40,920 Speaker 8: So, yeah, yeah, I actually wanted to go and do 74 00:03:41,920 --> 00:03:45,960 Speaker 8: computer programming and science and over that, and my mom said, 75 00:03:45,960 --> 00:03:48,120 Speaker 8: now don't you want to go and see the Pretoria 76 00:03:48,200 --> 00:03:52,000 Speaker 8: Tech on that of course at the time called theater technology. 77 00:03:52,720 --> 00:03:56,040 Speaker 9: And so I had it going, look and how you 78 00:03:56,080 --> 00:03:58,680 Speaker 9: could paint and you know, run around and do you 79 00:03:59,240 --> 00:04:02,360 Speaker 9: do something like a shop and all of that. And 80 00:04:02,680 --> 00:04:05,520 Speaker 9: only in my third year of that I actually realized, 81 00:04:05,760 --> 00:04:10,000 Speaker 9: wait a minute, I can design what we do. And 82 00:04:10,040 --> 00:04:15,640 Speaker 9: then from there I started looking for internship to try 83 00:04:15,680 --> 00:04:17,160 Speaker 9: and started and from there it started. 84 00:04:17,480 --> 00:04:20,880 Speaker 2: That's fascinating. Okay, so let's let's maybe for some some 85 00:04:20,960 --> 00:04:23,840 Speaker 2: listeners that may be lost and don't understand what set 86 00:04:23,880 --> 00:04:25,680 Speaker 2: design or production design is. 87 00:04:27,000 --> 00:04:28,359 Speaker 3: How do you define it? 88 00:04:28,680 --> 00:04:31,120 Speaker 2: So, because as you said, no wonder we think, I 89 00:04:31,120 --> 00:04:34,400 Speaker 2: mean when I'm watching a movie or I'm watching a telenovela, 90 00:04:34,560 --> 00:04:38,880 Speaker 2: or we're thinking that's like a real house, like I 91 00:04:39,160 --> 00:04:42,479 Speaker 2: I honestly always thought so until one day I went 92 00:04:42,560 --> 00:04:46,640 Speaker 2: on set and I see this big studio which has like, 93 00:04:46,800 --> 00:04:49,919 Speaker 2: oh that's the Moroccer house, Oh that's that office. 94 00:04:49,960 --> 00:04:50,440 Speaker 3: Are you like? 95 00:04:50,720 --> 00:04:53,520 Speaker 2: But it actually looks like a real thing. So how 96 00:04:53,560 --> 00:04:55,919 Speaker 2: does the process begin, Like, how do you tell that, 97 00:04:56,200 --> 00:04:58,880 Speaker 2: do you work with the director or do you conceptualize 98 00:04:58,880 --> 00:04:59,520 Speaker 2: it yourself? 99 00:05:00,560 --> 00:05:03,400 Speaker 7: Yes, you work with a director, and then you also 100 00:05:03,560 --> 00:05:05,680 Speaker 7: have to work with the producers because there's always obviously 101 00:05:05,720 --> 00:05:08,240 Speaker 7: a budget that's involved in the scenario. 102 00:05:08,560 --> 00:05:10,080 Speaker 3: Do you need to know what the story is about 103 00:05:10,120 --> 00:05:10,560 Speaker 3: the school? 104 00:05:10,760 --> 00:05:12,760 Speaker 7: So you need to know what the story is about, 105 00:05:12,839 --> 00:05:17,120 Speaker 7: who the characters are and who they need to become 106 00:05:17,240 --> 00:05:22,279 Speaker 7: within the story. So and you relate those characters to 107 00:05:23,640 --> 00:05:27,239 Speaker 7: the things that they would have. So you know, someone 108 00:05:27,520 --> 00:05:29,960 Speaker 7: would have a different couch because they're a different kind 109 00:05:30,000 --> 00:05:32,960 Speaker 7: of person to someone else, or that have a different 110 00:05:33,000 --> 00:05:36,000 Speaker 7: style of house, or they have a different way of 111 00:05:37,480 --> 00:05:40,760 Speaker 7: interpreting the things around them. So you need to think 112 00:05:40,800 --> 00:05:42,920 Speaker 7: about all of these things and how they're going to 113 00:05:43,839 --> 00:05:46,640 Speaker 7: position your character to become more believable. 114 00:05:47,520 --> 00:05:50,680 Speaker 2: I see my mom once. I did a show it 115 00:05:50,760 --> 00:05:53,600 Speaker 2: was on SBC one recently paid last year called The 116 00:05:53,600 --> 00:05:56,640 Speaker 2: Health Club, and it was like a normal studio show, 117 00:05:56,640 --> 00:05:58,800 Speaker 2: and my mom used to say, Oh, that dining room 118 00:05:58,839 --> 00:06:03,520 Speaker 2: looks so nice, because she didn't know that that's what's 119 00:06:03,520 --> 00:06:05,800 Speaker 2: in the little studio and then it's a said she 120 00:06:06,040 --> 00:06:09,200 Speaker 2: literally thought that, oh that's like someone it's a dining 121 00:06:09,279 --> 00:06:11,440 Speaker 2: room where if people sit and talk. And I thought 122 00:06:11,680 --> 00:06:15,080 Speaker 2: that's so interesting because that brings really your work alive 123 00:06:15,240 --> 00:06:18,680 Speaker 2: because somebody at home sits and believes that, Oh, that's 124 00:06:18,720 --> 00:06:21,839 Speaker 2: like really a cool space that people are just having 125 00:06:21,880 --> 00:06:26,800 Speaker 2: a conversation in. So do you guys normally then read 126 00:06:26,800 --> 00:06:29,560 Speaker 2: the script or you read just main need the storyline 127 00:06:29,560 --> 00:06:32,839 Speaker 2: and what the story is about. And also what about 128 00:06:32,920 --> 00:06:36,160 Speaker 2: like what do you call them props? How important are 129 00:06:36,200 --> 00:06:37,600 Speaker 2: those then in the work that you do? 130 00:06:38,760 --> 00:06:44,480 Speaker 5: Oh, they're very important. So Sam said, we aren't super 131 00:06:44,520 --> 00:06:47,640 Speaker 5: involved in the script. We break it down. We speak 132 00:06:47,680 --> 00:06:50,000 Speaker 5: to that because we're there to flesh out the director's 133 00:06:50,080 --> 00:06:54,080 Speaker 5: vision as well. And then the producers you know, hole 134 00:06:54,240 --> 00:06:57,920 Speaker 5: us in with the budget. But the props are important. 135 00:06:58,520 --> 00:07:01,919 Speaker 5: What I like to say is when you're watching a movie, 136 00:07:01,960 --> 00:07:04,680 Speaker 5: you should be able to switch off the sound and 137 00:07:04,720 --> 00:07:08,280 Speaker 5: then you know the characters, see who they are, where 138 00:07:08,279 --> 00:07:12,000 Speaker 5: they come from. You know, we visual storytellers, so that's 139 00:07:12,040 --> 00:07:15,360 Speaker 5: the best way to put it to it. And with 140 00:07:15,480 --> 00:07:20,040 Speaker 5: the props, they also describe the character. Like our thing 141 00:07:20,120 --> 00:07:24,160 Speaker 5: is attention to detail. We have to you know, the 142 00:07:24,200 --> 00:07:27,240 Speaker 5: bag that they carry says that they rich, or you 143 00:07:27,280 --> 00:07:29,960 Speaker 5: know where they come from. Oh, it's it's big. They 144 00:07:30,000 --> 00:07:33,680 Speaker 5: beg still and borrow, you know. Yeah, but it's interesting 145 00:07:33,800 --> 00:07:38,240 Speaker 5: to put these characters together because that's what that's what 146 00:07:38,280 --> 00:07:41,360 Speaker 5: we do. Literally switch off the sound and that's. 147 00:07:41,160 --> 00:07:41,880 Speaker 3: The whole world. 148 00:07:41,960 --> 00:07:46,480 Speaker 2: It must be able to see it. Yeah, yeah, and Divett, 149 00:07:46,840 --> 00:07:49,600 Speaker 2: what what do you? Perhaps, let me ask what you 150 00:07:49,720 --> 00:07:52,760 Speaker 2: enjoy the most? Do you work for like these drama 151 00:07:53,000 --> 00:07:56,560 Speaker 2: telenovela creating those sets or is it more television shows? 152 00:07:56,760 --> 00:08:03,120 Speaker 9: For me, it's mostly television first and foremost television and 153 00:08:03,200 --> 00:08:05,360 Speaker 9: if I even have to categorize it more, it would 154 00:08:05,400 --> 00:08:09,080 Speaker 9: be multi camera event set designer is what I'm more 155 00:08:09,120 --> 00:08:09,800 Speaker 9: specialized in. 156 00:08:10,200 --> 00:08:11,920 Speaker 6: Although we spoke. 157 00:08:11,680 --> 00:08:15,080 Speaker 9: Earlier or so is that we basically dabble in everything. 158 00:08:15,800 --> 00:08:19,040 Speaker 9: There's nothing is off limits, nothing is something that we 159 00:08:19,080 --> 00:08:23,680 Speaker 9: won't do. We'll probably always up for anything. So yeah, 160 00:08:24,240 --> 00:08:27,320 Speaker 9: my preference is that the drama and all of that. 161 00:08:27,960 --> 00:08:30,320 Speaker 9: We've all done a little bit of everything. 162 00:08:30,520 --> 00:08:32,760 Speaker 2: Okay, So I could come to you and say I've 163 00:08:32,760 --> 00:08:35,440 Speaker 2: got this drama, this telenovela, and I can also come 164 00:08:35,480 --> 00:08:39,040 Speaker 2: and say, oh, there's this health talk show and I 165 00:08:39,120 --> 00:08:41,080 Speaker 2: need this is the kind of set that I need. 166 00:08:41,240 --> 00:08:44,319 Speaker 9: And I'm going back to the it's it's all about 167 00:08:44,320 --> 00:08:47,480 Speaker 9: what the message is of the project. At the end 168 00:08:47,520 --> 00:08:49,840 Speaker 9: of the day, it's it's it's not so much and 169 00:08:49,840 --> 00:08:53,400 Speaker 9: and within our technical limits. And with technical limits, I'm 170 00:08:53,440 --> 00:08:56,800 Speaker 9: in budget. So within budget and with what we can 171 00:08:56,880 --> 00:08:59,079 Speaker 9: do with the time we have is to get. 172 00:08:58,880 --> 00:08:59,920 Speaker 6: That message across. 173 00:09:00,080 --> 00:09:00,320 Speaker 3: Yeah. 174 00:09:01,000 --> 00:09:06,040 Speaker 2: Do production companies keen to spend a lot of money 175 00:09:09,760 --> 00:09:13,200 Speaker 2: or is that like the one department that gets like 176 00:09:13,840 --> 00:09:14,880 Speaker 2: it tiny budget. 177 00:09:15,559 --> 00:09:17,520 Speaker 7: It depends on the production I mean, I think if 178 00:09:17,520 --> 00:09:20,280 Speaker 7: it's primarily a set based thing, they do need to 179 00:09:20,320 --> 00:09:21,600 Speaker 7: spend a lot more money. 180 00:09:23,160 --> 00:09:23,840 Speaker 6: It's not cheap. 181 00:09:24,200 --> 00:09:25,360 Speaker 4: Yeah, And it's not cheap. 182 00:09:25,440 --> 00:09:28,439 Speaker 7: I mean you're looking you're looking at probably four and 183 00:09:28,480 --> 00:09:32,200 Speaker 7: a half thousand, right, and a square meter minimum in 184 00:09:32,320 --> 00:09:33,960 Speaker 7: terms of creating a set. 185 00:09:34,040 --> 00:09:35,640 Speaker 4: That's kind of how we would quote it out. 186 00:09:35,760 --> 00:09:38,360 Speaker 9: It's almost as expensive as building an actual house. 187 00:09:38,559 --> 00:09:42,160 Speaker 4: I mean, the last set we did we did. 188 00:09:43,920 --> 00:09:46,960 Speaker 7: For it in Bernie is nine hundred and eighty square 189 00:09:47,000 --> 00:09:51,720 Speaker 7: meters of sets of studio sets and unfish mentioned numbers, 190 00:09:51,720 --> 00:09:53,920 Speaker 7: but we were looking around the three million rand marked 191 00:09:54,360 --> 00:09:56,160 Speaker 7: that whole entire sets, So. 192 00:09:56,120 --> 00:09:57,800 Speaker 3: It's like I'm building an entire half. 193 00:09:57,880 --> 00:10:04,400 Speaker 7: It was we built an entire shopping that. 194 00:10:02,440 --> 00:10:04,960 Speaker 6: There is the point on responsibility. 195 00:10:05,040 --> 00:10:09,440 Speaker 9: The job is that if you miss that up, it 196 00:10:09,480 --> 00:10:13,160 Speaker 9: does it does repercussions in all the partments. 197 00:10:13,400 --> 00:10:16,920 Speaker 2: Okay, yeah, so no monly, then what what happens when 198 00:10:18,120 --> 00:10:22,079 Speaker 2: the you don't need that house anymore? So Clement, who 199 00:10:22,120 --> 00:10:26,600 Speaker 2: has a character here, leaves, Like I'm trying to understand, 200 00:10:26,640 --> 00:10:28,920 Speaker 2: can you just is it better to keep the set 201 00:10:29,000 --> 00:10:32,200 Speaker 2: as is for years so that you don't move their 202 00:10:32,240 --> 00:10:34,120 Speaker 2: characters too much, because then you have to spend more 203 00:10:34,160 --> 00:10:38,280 Speaker 2: money than you're building other sets, or or is it 204 00:10:38,320 --> 00:10:40,960 Speaker 2: easy to just break this thing up because we want 205 00:10:40,960 --> 00:10:42,760 Speaker 2: a new say it because the show is evolving. 206 00:10:43,000 --> 00:10:44,560 Speaker 3: Clement has moved to a new house. 207 00:10:44,880 --> 00:10:47,480 Speaker 2: It's no longer in the township quote unquote, is now 208 00:10:47,480 --> 00:10:49,560 Speaker 2: in the suburbs. Therefore we need to put him in 209 00:10:49,559 --> 00:10:52,960 Speaker 2: a house like that. When you work with production companies, 210 00:10:53,080 --> 00:10:55,640 Speaker 2: is it more long term the set you have or 211 00:10:56,000 --> 00:10:58,320 Speaker 2: it normally sometimes changes with characters. 212 00:10:59,520 --> 00:11:03,560 Speaker 5: I will say it does change. The main thing that 213 00:11:03,600 --> 00:11:06,600 Speaker 5: guides us is story. I also just want to clarify 214 00:11:06,679 --> 00:11:10,440 Speaker 5: that it's either we shoot in location which is different 215 00:11:10,520 --> 00:11:13,520 Speaker 5: and it's actual houses so it's easy to dispose of 216 00:11:13,840 --> 00:11:16,720 Speaker 5: and if you're in studio That's when you have to 217 00:11:16,720 --> 00:11:19,560 Speaker 5: be smart, especially in terms of the budget. We have 218 00:11:19,679 --> 00:11:22,800 Speaker 5: to repurpose the same couch that you saw for Garaba, 219 00:11:22,880 --> 00:11:26,520 Speaker 5: Morocca and now it's Zinzi's. We have to re upholster 220 00:11:26,960 --> 00:11:32,720 Speaker 5: and become creative about everything. So they always encourage repurposing, 221 00:11:33,080 --> 00:11:36,319 Speaker 5: and it also makes sense in studio. You know, if 222 00:11:36,360 --> 00:11:39,840 Speaker 5: the story line is finished for this new character, then 223 00:11:39,880 --> 00:11:41,000 Speaker 5: we repurpose the sets. 224 00:11:41,200 --> 00:11:43,280 Speaker 3: Yeah. One thing that surprised me. 225 00:11:44,360 --> 00:11:47,320 Speaker 2: I had an opportunity to go to be on the 226 00:11:47,400 --> 00:11:49,000 Speaker 2: River the telenovela. 227 00:11:50,080 --> 00:11:50,880 Speaker 3: Thank god, I wasn't. 228 00:11:50,920 --> 00:11:53,280 Speaker 2: I was really playing myself, which made it easier because 229 00:11:53,280 --> 00:11:55,600 Speaker 2: I'm not an actor. But I remember we shot a 230 00:11:55,640 --> 00:12:00,720 Speaker 2: scene in the lounge and like Lindy was house Lindu 231 00:12:00,720 --> 00:12:04,440 Speaker 2: Adikana the character, and next door like in that house, 232 00:12:04,520 --> 00:12:07,280 Speaker 2: like just in by the kitchen. Then it's the bar. 233 00:12:08,240 --> 00:12:11,040 Speaker 2: But every time I've ever watched like the River, I've 234 00:12:11,080 --> 00:12:13,520 Speaker 2: always thought that is the house and then the BI 235 00:12:13,640 --> 00:12:14,600 Speaker 2: is somewhere else. 236 00:12:15,440 --> 00:12:17,559 Speaker 3: And I was like, wait, they said we're gonna shoot 237 00:12:17,559 --> 00:12:17,880 Speaker 3: at the bar. 238 00:12:17,920 --> 00:12:19,679 Speaker 2: I thought we're going to get into the car and 239 00:12:19,720 --> 00:12:22,320 Speaker 2: go somewhere else to shoot, and there's like, no, there 240 00:12:22,360 --> 00:12:25,000 Speaker 2: it is. You're just walking there ten seconds and it's 241 00:12:25,080 --> 00:12:27,440 Speaker 2: just there. It's so interesting what you're able to do 242 00:12:27,520 --> 00:12:30,400 Speaker 2: with space, I mean, what you're able to create within 243 00:12:30,480 --> 00:12:33,840 Speaker 2: such a small space, in a small space. We're gonna 244 00:12:33,840 --> 00:12:36,640 Speaker 2: continue this conversation after the break. I see your questions 245 00:12:36,640 --> 00:12:38,160 Speaker 2: coming through as well on the what's up line Oh 246 00:12:38,200 --> 00:12:40,800 Speaker 2: seven two, seven oh two one seven oh two. What 247 00:12:40,800 --> 00:12:44,559 Speaker 2: do you understand about set designs? And if you've got 248 00:12:44,640 --> 00:12:48,440 Speaker 2: questions for uh their set designers yourself please oh one 249 00:12:48,480 --> 00:12:50,480 Speaker 2: one eight eight three or seven oh two. That's where 250 00:12:50,480 --> 00:12:51,880 Speaker 2: you can give us a call or send it what's 251 00:12:51,920 --> 00:12:53,960 Speaker 2: up on seven two seven or two one seven oh two. 252 00:12:54,000 --> 00:12:56,560 Speaker 3: It's twenty two after ten Across. 253 00:12:56,120 --> 00:12:59,360 Speaker 1: The Desk with Clement on seven o. 254 00:12:59,400 --> 00:13:02,080 Speaker 3: Two, six minutes after ten o clock. 255 00:13:02,320 --> 00:13:05,079 Speaker 2: We are finding out more about the work of set 256 00:13:05,120 --> 00:13:07,200 Speaker 2: designers this morning on our Across. 257 00:13:06,880 --> 00:13:08,200 Speaker 3: The Desk feature. 258 00:13:08,280 --> 00:13:10,679 Speaker 2: We've got Sam, We've got nor More De and Devert 259 00:13:10,760 --> 00:13:12,760 Speaker 2: to our set designers, and I want to give you 260 00:13:12,760 --> 00:13:15,720 Speaker 2: an opportunity to ask questions as well. You can send 261 00:13:15,920 --> 00:13:17,719 Speaker 2: us you what's a voice notes give us a call 262 00:13:17,800 --> 00:13:18,079 Speaker 2: as well. 263 00:13:18,120 --> 00:13:22,720 Speaker 10: Let's start with your voice notes. I, Madamja Stevinia Alberton. 264 00:13:23,880 --> 00:13:27,200 Speaker 10: I just want to know with the invent of AI 265 00:13:29,000 --> 00:13:33,080 Speaker 10: is their threat to this industry? Someone who's telling me 266 00:13:33,800 --> 00:13:40,600 Speaker 10: that you could be setting on twenty liters empty buckets 267 00:13:40,679 --> 00:13:47,080 Speaker 10: of paint and with R graphics you can create a 268 00:13:47,120 --> 00:13:54,599 Speaker 10: posh lounge or sitting room. 269 00:13:52,840 --> 00:13:53,720 Speaker 2: And the like. 270 00:13:53,880 --> 00:13:59,679 Speaker 10: So everything can be now generated digitally with the capability 271 00:13:59,760 --> 00:14:03,400 Speaker 10: of of A Is that is that a threat and 272 00:14:04,120 --> 00:14:08,959 Speaker 10: that your guest concerned about their livelihood and their jobs 273 00:14:10,200 --> 00:14:12,600 Speaker 10: going for it in the future With regards. 274 00:14:12,320 --> 00:14:19,480 Speaker 2: To that, Yeah, is it of great concern to you guys? 275 00:14:19,280 --> 00:14:20,920 Speaker 6: It's it's a contentious issue. 276 00:14:22,880 --> 00:14:25,680 Speaker 9: Some people are scared and I'm not supposed to swear it, 277 00:14:25,720 --> 00:14:31,360 Speaker 9: but they are scared of it. I personally, I think 278 00:14:31,440 --> 00:14:35,119 Speaker 9: it's it's like the advent of photoshop to the original 279 00:14:35,400 --> 00:14:40,040 Speaker 9: pen and cochie graphic design people. It's my personal thought 280 00:14:40,040 --> 00:14:42,440 Speaker 9: that it's something to embrace and see how you can 281 00:14:42,480 --> 00:14:45,440 Speaker 9: put it into your workflow and get it into. 282 00:14:45,240 --> 00:14:46,200 Speaker 6: Your production line. 283 00:14:46,480 --> 00:14:48,920 Speaker 9: Like all things, it might just add to to your 284 00:14:48,960 --> 00:14:51,200 Speaker 9: productivity and make whatever you do better. 285 00:14:51,720 --> 00:14:53,000 Speaker 6: I don't know if it's going. 286 00:14:52,960 --> 00:14:58,560 Speaker 9: To be anywhere near replacing me as a person, because 287 00:14:58,640 --> 00:15:03,840 Speaker 9: I have feelings few things and design accordingly which I 288 00:15:03,880 --> 00:15:08,000 Speaker 9: think I are it's not there, maybe not yet. I 289 00:15:08,000 --> 00:15:10,520 Speaker 9: don't think it's a fear or it's certainly a threat, 290 00:15:12,000 --> 00:15:17,080 Speaker 9: but it's it's something to keep in mind and also 291 00:15:17,120 --> 00:15:21,280 Speaker 9: sort of teach yourself how to use it and understanding 292 00:15:21,280 --> 00:15:24,360 Speaker 9: it before you start hating on it and then completely 293 00:15:24,360 --> 00:15:24,920 Speaker 9: messed about. 294 00:15:25,280 --> 00:15:27,920 Speaker 7: Yeah, I mean, I think it's a pivot, it's a 295 00:15:27,960 --> 00:15:30,000 Speaker 7: privot in the industry, and I think it really is 296 00:15:30,040 --> 00:15:31,760 Speaker 7: an it's. 297 00:15:31,560 --> 00:15:32,280 Speaker 4: A great tool. 298 00:15:32,520 --> 00:15:37,400 Speaker 7: I think environmentally it's devastating at this point, and one 299 00:15:37,440 --> 00:15:41,280 Speaker 7: hopes that they're going to develop that technology so there's 300 00:15:41,360 --> 00:15:45,440 Speaker 7: not so environmentally damaging. But it certainly is a time 301 00:15:45,600 --> 00:15:50,600 Speaker 7: saver and it certainly does help in terms of specifically 302 00:15:50,720 --> 00:15:53,440 Speaker 7: putting together boards we're trying to prove an idea to 303 00:15:53,520 --> 00:15:56,520 Speaker 7: a client. It's so much easier to jump on the 304 00:15:56,680 --> 00:16:01,520 Speaker 7: journey and prompt exactly watch looking for as opposed to 305 00:16:01,520 --> 00:16:04,680 Speaker 7: trying to find reference pictures and try and go. It's 306 00:16:04,760 --> 00:16:06,480 Speaker 7: kind of what you're thinking, but like with a bit 307 00:16:06,520 --> 00:16:07,920 Speaker 7: of this and then a bit of that, you know 308 00:16:07,920 --> 00:16:14,840 Speaker 7: what I mean, where you can compile one actual what 309 00:16:15,000 --> 00:16:16,760 Speaker 7: you're looking to portray. 310 00:16:17,000 --> 00:16:17,440 Speaker 6: The fear of. 311 00:16:19,320 --> 00:16:21,840 Speaker 5: Yeah, yeah, I don't think I don't think we should 312 00:16:21,880 --> 00:16:23,520 Speaker 5: be scared at all. As you said, we need to 313 00:16:23,560 --> 00:16:27,040 Speaker 5: embrace the process. The human touch we can never replace, 314 00:16:27,440 --> 00:16:31,200 Speaker 5: even the cultural nuances we can never replace. Like, let's 315 00:16:31,200 --> 00:16:34,080 Speaker 5: embrace the technology and you know, and it helps. Actually 316 00:16:34,080 --> 00:16:37,160 Speaker 5: with references, I struggle sometimes to find like exactly what's 317 00:16:37,200 --> 00:16:40,840 Speaker 5: in my head. But then with AI, you just you know, 318 00:16:40,920 --> 00:16:43,400 Speaker 5: prompt it and then you know, it pops it out 319 00:16:43,760 --> 00:16:44,480 Speaker 5: and it just helps. 320 00:16:45,160 --> 00:16:50,280 Speaker 7: Might not be popular opinion, it's also it's it requires 321 00:16:50,280 --> 00:16:52,760 Speaker 7: a lot of learning. It's not just like on Instagram. 322 00:16:52,840 --> 00:16:55,640 Speaker 7: You know, on Instagrams everything looks so easy. It's like 323 00:16:55,680 --> 00:16:57,800 Speaker 7: it just pops this thing up. It's not that there's 324 00:16:57,920 --> 00:17:02,040 Speaker 7: there's this processes involved, and there's a lot of processes involved. 325 00:17:02,040 --> 00:17:05,000 Speaker 7: You still need to have human interaction. Yes, you're learning 326 00:17:05,040 --> 00:17:07,840 Speaker 7: new programs, you're learning new skills, but I don't think 327 00:17:07,880 --> 00:17:09,160 Speaker 7: it's going to obliterate. 328 00:17:09,760 --> 00:17:09,960 Speaker 4: Yeah. 329 00:17:11,280 --> 00:17:13,840 Speaker 9: I just enjoy your line for the other day where 330 00:17:13,920 --> 00:17:20,159 Speaker 9: somebody said you need to tell exactly exactly what you 331 00:17:20,200 --> 00:17:20,800 Speaker 9: need from it. 332 00:17:21,520 --> 00:17:23,679 Speaker 6: Have you ever met a client that does exactly what? 333 00:17:23,920 --> 00:17:28,399 Speaker 2: Never, especially with you guys, and said you back and 334 00:17:28,520 --> 00:17:31,960 Speaker 2: forth about okay, this is let's refine it this way. 335 00:17:32,480 --> 00:17:34,320 Speaker 3: Yeah, it's ten to thirteen. Let's get the latest to 336 00:17:34,359 --> 00:17:35,520 Speaker 3: night with this new headline. 337 00:17:35,520 --> 00:17:41,439 Speaker 2: Step across the Desk with Clement seven twenty four minutes 338 00:17:41,480 --> 00:17:45,800 Speaker 2: before eleven oat Lock. We are hosting set designers on 339 00:17:45,840 --> 00:17:48,680 Speaker 2: our Across the Desk feature this morning. It's so fascinating 340 00:17:48,800 --> 00:17:52,360 Speaker 2: learning more about the work that they do. I've got 341 00:17:52,359 --> 00:17:54,480 Speaker 2: a few questions coming from our listeners. We'll go to 342 00:17:54,520 --> 00:17:56,520 Speaker 2: some what's ups in a moment, but before I even 343 00:17:56,600 --> 00:18:01,639 Speaker 2: get there, Sam, I'm interested in the difference is for 344 00:18:01,720 --> 00:18:05,800 Speaker 2: designing for stage and designing for screen, Like what do 345 00:18:05,840 --> 00:18:09,400 Speaker 2: you think about differently in each environment, Because at least 346 00:18:09,440 --> 00:18:12,760 Speaker 2: with screen the opportunities to fix up here and there. 347 00:18:12,880 --> 00:18:16,840 Speaker 2: But if it's a theater production, if it goes down, 348 00:18:16,880 --> 00:18:18,760 Speaker 2: it goes down. There's not much you can do. 349 00:18:19,119 --> 00:18:20,479 Speaker 4: No, there's not much you can do. 350 00:18:20,640 --> 00:18:25,040 Speaker 7: And it's quite terrifying actually theater, when you know that 351 00:18:25,119 --> 00:18:29,400 Speaker 7: curtain call comes and they're counting down like three, two one. 352 00:18:29,440 --> 00:18:31,720 Speaker 7: Once that curtain is up, you do not have time 353 00:18:31,800 --> 00:18:38,280 Speaker 7: to finish anything. It goes down as goes down, which. 354 00:18:38,080 --> 00:18:39,840 Speaker 4: To me is absolutely terrifying. 355 00:18:40,880 --> 00:18:43,520 Speaker 7: I really do prefer having take one, take two, you 356 00:18:43,560 --> 00:18:47,080 Speaker 7: take three, and having the time to actually craft something 357 00:18:47,240 --> 00:18:51,280 Speaker 7: specific as opposed to I mean, obviously in theater you 358 00:18:51,359 --> 00:18:54,760 Speaker 7: rehearse and your rehearst and you rehearse until there's nothing 359 00:18:54,800 --> 00:18:58,720 Speaker 7: that's left to chance. But anything could happen, you know 360 00:18:58,760 --> 00:19:00,560 Speaker 7: what I mean. That curtain goes up. You can't think 361 00:19:00,560 --> 00:19:04,920 Speaker 7: suddenly run and like fix the wardrobe, just the lights, 362 00:19:05,040 --> 00:19:05,960 Speaker 7: or do anything. 363 00:19:06,040 --> 00:19:07,399 Speaker 4: It is what it is, you. 364 00:19:07,440 --> 00:19:11,960 Speaker 7: Know, And that's and that's it's a totally different genre. 365 00:19:12,200 --> 00:19:12,880 Speaker 3: Yes, it's. 366 00:19:14,320 --> 00:19:15,720 Speaker 4: What is nice about it. 367 00:19:15,560 --> 00:19:19,639 Speaker 7: Is that you can do a lot more in terms 368 00:19:19,720 --> 00:19:22,280 Speaker 7: of staging and lighting and those kind of things. 369 00:19:22,280 --> 00:19:24,520 Speaker 4: So you can go quite abstract in terms of how 370 00:19:24,520 --> 00:19:26,560 Speaker 4: you design things, whereas with. 371 00:19:28,200 --> 00:19:32,040 Speaker 7: You know, productions and movies, it's always it's it's it's 372 00:19:32,359 --> 00:19:33,520 Speaker 7: mostly real stuff. 373 00:19:33,640 --> 00:19:34,600 Speaker 4: Because she's so peased. 374 00:19:34,680 --> 00:19:37,879 Speaker 7: It's a lounge, it's a dining room, it's a shop, 375 00:19:37,960 --> 00:19:39,440 Speaker 7: it's a spiser. 376 00:19:39,359 --> 00:19:40,400 Speaker 4: It's a you know what I mean. 377 00:19:40,440 --> 00:19:43,159 Speaker 7: So in terms of theater, you can actually get a 378 00:19:43,160 --> 00:19:45,280 Speaker 7: lot more creative in terms of what you can do. 379 00:19:45,840 --> 00:19:48,480 Speaker 9: Maybe I could just add to that, is it for 380 00:19:48,480 --> 00:19:51,639 Speaker 9: for theater you're designed for two eyes with no zoom 381 00:19:51,680 --> 00:19:57,640 Speaker 9: function it's for one eye with zoom functions. So yeah, 382 00:19:57,760 --> 00:19:59,960 Speaker 9: so it is technically a little bit different. 383 00:20:00,040 --> 00:20:04,640 Speaker 2: But so how much time do you guys get before 384 00:20:05,160 --> 00:20:07,120 Speaker 2: you can produce, like the set. 385 00:20:10,000 --> 00:20:10,840 Speaker 6: It's never enough. 386 00:20:12,400 --> 00:20:14,960 Speaker 5: Sometimes you build them all in a month. 387 00:20:16,960 --> 00:20:20,640 Speaker 3: Yeah, jeez, Like how many team members then do you need? 388 00:20:20,800 --> 00:20:23,960 Speaker 2: So if someone comes now and says, okay, we need 389 00:20:24,000 --> 00:20:28,760 Speaker 2: the set and we're shooting in in two weeks, that 390 00:20:28,840 --> 00:20:30,680 Speaker 2: means you're not going to sleep for the next two weeks. 391 00:20:30,920 --> 00:20:34,880 Speaker 9: And and and it's not not just us, there's there's 392 00:20:34,960 --> 00:20:39,639 Speaker 9: a lot of people around us. There's all our I 393 00:20:39,680 --> 00:20:46,040 Speaker 9: can call them, magnets, deputies, works workshop foreman, team leaders, 394 00:20:46,520 --> 00:20:50,439 Speaker 9: lots of craftsmen. It is usually a lot of people 395 00:20:50,480 --> 00:20:53,080 Speaker 9: involved with it. And the less the time, the more 396 00:20:53,160 --> 00:20:55,879 Speaker 9: the people or the light of the nights, there's always 397 00:20:55,880 --> 00:20:56,639 Speaker 9: sort of a tridle. 398 00:20:57,280 --> 00:20:59,879 Speaker 2: How many times do you do the back and forth 399 00:21:00,880 --> 00:21:03,480 Speaker 2: with the production company that says this is what we're 400 00:21:03,520 --> 00:21:06,280 Speaker 2: looking for. Have you ever normal difference since heide a 401 00:21:06,320 --> 00:21:09,400 Speaker 2: production company that was very clear and you guys designed 402 00:21:09,400 --> 00:21:11,600 Speaker 2: the said and they were like, oh that's it, we 403 00:21:11,720 --> 00:21:13,680 Speaker 2: take it, or it's always never. 404 00:21:15,280 --> 00:21:18,000 Speaker 5: It never happened. I mean, I feel like throughout the 405 00:21:18,000 --> 00:21:20,399 Speaker 5: production you have that back and forth. You have to, 406 00:21:21,040 --> 00:21:23,480 Speaker 5: you know, they also like being involved, you know, and 407 00:21:23,520 --> 00:21:24,800 Speaker 5: it also narrows. 408 00:21:24,440 --> 00:21:26,480 Speaker 4: Down what you do as well. 409 00:21:26,840 --> 00:21:29,640 Speaker 5: But it's always nice as well when you get ones 410 00:21:29,680 --> 00:21:32,040 Speaker 5: that do trust your vision and just let you play. 411 00:21:32,240 --> 00:21:35,080 Speaker 5: But it's always a back and forth, always until the end. 412 00:21:35,200 --> 00:21:37,800 Speaker 2: What happens when you disagree? So I me like, I 413 00:21:37,840 --> 00:21:39,840 Speaker 2: don't think that's going to work for a show like this. 414 00:21:40,080 --> 00:21:43,840 Speaker 7: I don't think in a creative scenario you ever really disagree. 415 00:21:43,960 --> 00:21:46,200 Speaker 7: I mean you've got so or agree for that matter, 416 00:21:46,240 --> 00:21:47,760 Speaker 7: but I mean you've got so many. 417 00:21:47,680 --> 00:21:50,120 Speaker 4: Different people who have so many different opinions. 418 00:21:49,680 --> 00:21:52,320 Speaker 7: And then this narrative that applies to it, and you 419 00:21:52,480 --> 00:21:55,520 Speaker 7: need to work within that group and reach I think 420 00:21:55,560 --> 00:21:59,000 Speaker 7: compromise is probably the best word. We go, Okay, well 421 00:21:59,480 --> 00:22:01,720 Speaker 7: I would love to do this, and then the producer goes, 422 00:22:01,760 --> 00:22:04,879 Speaker 7: we can't afford that, and then the director We'll go, 423 00:22:05,080 --> 00:22:06,720 Speaker 7: I'd really also love to do that, And then you 424 00:22:06,800 --> 00:22:08,719 Speaker 7: reach a compromise and you have to work out how 425 00:22:08,800 --> 00:22:11,440 Speaker 7: to do what you want to do within these constraints. 426 00:22:11,520 --> 00:22:13,280 Speaker 7: And I think it's always about compromise. 427 00:22:13,440 --> 00:22:13,640 Speaker 3: Yeah. 428 00:22:13,760 --> 00:22:15,399 Speaker 2: There are some more what's Up voice notes that have 429 00:22:15,520 --> 00:22:17,600 Speaker 2: come on O Sive into seven or two and seven or. 430 00:22:17,600 --> 00:22:20,240 Speaker 11: Two A Lemon thank you so much for the show. 431 00:22:20,600 --> 00:22:22,800 Speaker 11: So I work in the industry, right and I've been 432 00:22:22,840 --> 00:22:25,960 Speaker 11: to so many sets before. The best one for me 433 00:22:27,040 --> 00:22:29,520 Speaker 11: was the River set because I was just blown away 434 00:22:29,560 --> 00:22:32,320 Speaker 11: by how you would literally go into a mocuckoo and 435 00:22:32,359 --> 00:22:34,959 Speaker 11: it would look proper like the proper moucuckoo, even if 436 00:22:35,000 --> 00:22:38,840 Speaker 11: it's even if it's like amcuckoo based in in in 437 00:22:39,040 --> 00:22:41,160 Speaker 11: in in Remsch, but then it was proper. 438 00:22:41,200 --> 00:22:41,640 Speaker 3: It was good. 439 00:22:42,000 --> 00:22:43,560 Speaker 11: And then Deep c too was one of the best 440 00:22:43,600 --> 00:22:46,440 Speaker 11: as well because it was actually built from scratch. I think, 441 00:22:46,760 --> 00:22:49,240 Speaker 11: so the mc cuckoo's and everything else seemed real. So 442 00:22:50,000 --> 00:22:52,680 Speaker 11: big up to the people that actually do this. It 443 00:22:52,840 --> 00:22:54,680 Speaker 11: might seem like it's an easy job, but it's actually 444 00:22:54,800 --> 00:22:56,480 Speaker 11: not so big up to them. They must keep on 445 00:22:56,560 --> 00:23:01,000 Speaker 11: doing the great job. Thanks, thank you, good morning, implement. 446 00:23:01,440 --> 00:23:04,600 Speaker 11: It's salute from sin Sharon. I would just like to 447 00:23:04,720 --> 00:23:10,000 Speaker 11: know what the funeral sets where the shootings for funerals 448 00:23:10,119 --> 00:23:13,440 Speaker 11: and what's really happening there? Do they really go to 449 00:23:14,720 --> 00:23:18,200 Speaker 11: like the real cemeteries and what's happening in there? 450 00:23:19,440 --> 00:23:23,840 Speaker 12: Non inclement and your guest there what a lies nice topick. 451 00:23:24,359 --> 00:23:29,280 Speaker 12: I just wanted to ask if you they for outside shots, 452 00:23:29,560 --> 00:23:34,439 Speaker 12: they use houses office building like in Generation they were 453 00:23:34,520 --> 00:23:37,960 Speaker 12: using that building then run back. Sometimes they use nice 454 00:23:38,000 --> 00:23:42,600 Speaker 12: houses in the suburbs or estate. Do you pay the 455 00:23:42,720 --> 00:23:45,280 Speaker 12: orders of this building or you just asked to use 456 00:23:45,359 --> 00:23:47,040 Speaker 12: the outside of the building. 457 00:23:49,080 --> 00:23:51,800 Speaker 3: Thank you production company, because I know what. 458 00:23:52,320 --> 00:23:56,359 Speaker 2: Sometimes it's an establishing shot of this big house and 459 00:23:56,400 --> 00:23:58,040 Speaker 2: then suddenly you see inside the house. 460 00:23:58,119 --> 00:24:02,920 Speaker 3: But that's not the inside. That's what you guys have 461 00:24:05,520 --> 00:24:09,320 Speaker 3: to mention the house that was established there. 462 00:24:09,760 --> 00:24:13,720 Speaker 2: But there was a question then normally about like funeral scenes, 463 00:24:13,880 --> 00:24:17,880 Speaker 2: like do you go to actual you know, symmetries, how 464 00:24:17,920 --> 00:24:18,480 Speaker 2: does it work? 465 00:24:19,440 --> 00:24:25,119 Speaker 5: Well, just a disclaimer, nothing is real. Well, sometimes we 466 00:24:25,240 --> 00:24:29,560 Speaker 5: do go to the symmetries, depending on the permission, But 467 00:24:29,720 --> 00:24:32,680 Speaker 5: then if we're really pressed for time, because sometimes the 468 00:24:32,720 --> 00:24:36,199 Speaker 5: schedule doesn't allow, we'll just use the backyard or an 469 00:24:36,280 --> 00:24:39,639 Speaker 5: open field, create our own tombstones, you know, dig our 470 00:24:39,680 --> 00:24:42,520 Speaker 5: own graves, and when you see it on screen, it's 471 00:24:42,560 --> 00:24:45,160 Speaker 5: a real symmetry. So nothing is real. 472 00:24:45,560 --> 00:24:47,320 Speaker 3: So shure that's interesting. 473 00:24:47,440 --> 00:24:50,080 Speaker 2: So and do you I mean it's like dressing it 474 00:24:50,240 --> 00:24:54,320 Speaker 2: up and like for instance, even with tombstone for instance, 475 00:24:54,440 --> 00:24:57,480 Speaker 2: like what because sometimes they look so real, Like I 476 00:24:57,600 --> 00:25:02,359 Speaker 2: used to think they went to someone else's tombstone, Yes. 477 00:25:03,359 --> 00:25:09,080 Speaker 5: Sarne aging it. Sometimes it's would you know. So we 478 00:25:09,240 --> 00:25:11,080 Speaker 5: actually have a lot of fun when you create these 479 00:25:11,160 --> 00:25:16,040 Speaker 5: things to try and make it real, like the organic history. 480 00:25:16,520 --> 00:25:20,840 Speaker 2: Yeah, okay, So one thing I saw recently, I went 481 00:25:20,920 --> 00:25:23,639 Speaker 2: to visit a set in studio and I saw they 482 00:25:23,680 --> 00:25:27,000 Speaker 2: were using a green screen. So there was this big 483 00:25:27,320 --> 00:25:31,880 Speaker 2: screen and you would stand there as an egg tower 484 00:25:32,000 --> 00:25:36,200 Speaker 2: presenter and then they somehow build like a set on 485 00:25:36,440 --> 00:25:36,959 Speaker 2: the screen. 486 00:25:37,119 --> 00:25:39,480 Speaker 3: So it's not like I don't know if you guys 487 00:25:39,520 --> 00:25:41,680 Speaker 3: have seen that, what do you think of that? Do 488 00:25:41,760 --> 00:25:42,560 Speaker 3: you do that as well? 489 00:25:42,680 --> 00:25:45,000 Speaker 4: Or do you I mean we do. We do quite 490 00:25:45,000 --> 00:25:47,320 Speaker 4: a lot of green screen, and then you. 491 00:25:47,320 --> 00:25:50,080 Speaker 3: Can design for green screen, you can well, so. 492 00:25:50,400 --> 00:25:54,040 Speaker 7: You can design these various programs that they used to 493 00:25:54,119 --> 00:25:58,359 Speaker 7: design what goes behind the thats that's seen, and then 494 00:25:58,359 --> 00:26:00,639 Speaker 7: they just obviously put it in in par Is production. 495 00:26:01,000 --> 00:26:02,919 Speaker 6: Yeah, and it's an old technology. 496 00:26:03,520 --> 00:26:04,240 Speaker 3: Old really. 497 00:26:06,280 --> 00:26:09,600 Speaker 9: We used to be static plates that they painted into 498 00:26:09,920 --> 00:26:10,919 Speaker 9: real life. 499 00:26:11,080 --> 00:26:14,880 Speaker 4: Yea, literally painted on glass we started. 500 00:26:15,200 --> 00:26:18,200 Speaker 9: Yeah, the stuff that they do now it is fantastic, 501 00:26:18,280 --> 00:26:21,240 Speaker 9: But the green screen it kind of falls within our 502 00:26:21,920 --> 00:26:26,000 Speaker 9: production designs job as well. Yeah, it might not be 503 00:26:26,119 --> 00:26:29,560 Speaker 9: the actual rendering, but it would be still part of 504 00:26:29,640 --> 00:26:30,320 Speaker 9: our design work. 505 00:26:30,520 --> 00:26:33,880 Speaker 2: Yeah, someone else is asking about what to do if 506 00:26:34,480 --> 00:26:38,880 Speaker 2: we want to join the industry. I'm fascinated about this work. 507 00:26:39,240 --> 00:26:42,000 Speaker 2: Pleasingly ask them what do I need to study or 508 00:26:42,160 --> 00:26:44,240 Speaker 2: what experience do I need to get into an industry 509 00:26:44,320 --> 00:26:44,480 Speaker 2: like this? 510 00:26:45,200 --> 00:26:45,840 Speaker 3: Any advice? 511 00:26:47,280 --> 00:26:50,920 Speaker 7: I mean, there's a lot of Tussue institutions that offer 512 00:26:51,800 --> 00:26:57,520 Speaker 7: film design. Is you know, theater technology is after which 513 00:26:57,600 --> 00:27:02,240 Speaker 7: does production design, and the spits has this open window. 514 00:27:02,960 --> 00:27:05,200 Speaker 7: So there's a lot of your varsity college, there's a 515 00:27:05,200 --> 00:27:07,720 Speaker 7: lot of institutions that do offer film and production design. 516 00:27:08,520 --> 00:27:11,800 Speaker 7: I think that the understanding is is that what you're 517 00:27:11,840 --> 00:27:16,160 Speaker 7: going to learn there is not a lot about what actually. 518 00:27:15,960 --> 00:27:21,159 Speaker 4: Happens on the sect. It is exactly the same with 519 00:27:21,240 --> 00:27:21,919 Speaker 4: every degree. 520 00:27:22,200 --> 00:27:26,680 Speaker 7: But I think the best way obviously, it's nice to 521 00:27:26,720 --> 00:27:30,480 Speaker 7: get the theoretical background in terms of specifically knowledge in 522 00:27:30,600 --> 00:27:32,760 Speaker 7: terms of lensing, lighting, all those kind of things. 523 00:27:32,600 --> 00:27:34,360 Speaker 4: Because these are things that we use a lot. 524 00:27:35,359 --> 00:27:38,880 Speaker 7: We design seats specifically for certain types of cameras. 525 00:27:39,480 --> 00:27:43,200 Speaker 9: Yeah, I don't think it excludes people from entering have 526 00:27:43,280 --> 00:27:45,120 Speaker 9: a degree or have studied. 527 00:27:45,920 --> 00:27:49,359 Speaker 7: You did find arts, I did find art yeah, I 528 00:27:49,680 --> 00:27:51,840 Speaker 7: mean I've lected it after and I mean one of 529 00:27:51,920 --> 00:27:55,639 Speaker 7: my one of my students actually didn't have enough funding 530 00:27:55,720 --> 00:27:58,240 Speaker 7: to continue his education and he just started working in 531 00:27:58,280 --> 00:27:59,640 Speaker 7: the industry and he hasn't stopped. 532 00:28:00,359 --> 00:28:00,600 Speaker 6: Level. 533 00:28:01,000 --> 00:28:08,480 Speaker 9: You know, I'm getting getting the tea job just to 534 00:28:08,600 --> 00:28:11,520 Speaker 9: start and get a foot and I was a receptionist. 535 00:28:14,560 --> 00:28:17,399 Speaker 5: But I do think it's important to go to school 536 00:28:17,440 --> 00:28:20,240 Speaker 5: so you can divisify because right now the way the 537 00:28:20,359 --> 00:28:25,320 Speaker 5: industry is going important for me. I'm also getting into events, 538 00:28:25,359 --> 00:28:26,400 Speaker 5: which is quite interesting. 539 00:28:26,480 --> 00:28:29,960 Speaker 6: You know, degree doesn't keep you out of it. Yeah, 540 00:28:31,760 --> 00:28:35,040 Speaker 6: low level and you can with twenty years. 541 00:28:35,080 --> 00:28:38,640 Speaker 2: Probably be the big Yeah, yeah, that's true. Yeah, Okay, 542 00:28:38,800 --> 00:28:40,880 Speaker 2: let's go to another what's upvoice that's coming. 543 00:28:42,240 --> 00:28:44,080 Speaker 3: I would like to ask you, guess. 544 00:28:45,480 --> 00:28:49,400 Speaker 13: If a president is cooking, are they really really really 545 00:28:49,480 --> 00:28:50,200 Speaker 13: cooking there? 546 00:28:50,800 --> 00:28:52,240 Speaker 3: Or what's open? What's opening? 547 00:28:52,760 --> 00:28:57,160 Speaker 13: And then sometimes you'll find that someone will be cutting 548 00:28:57,360 --> 00:29:00,200 Speaker 13: onions and all that. So after cutting door, you know, 549 00:29:00,320 --> 00:29:04,440 Speaker 13: what did they do with those food those vegetables? 550 00:29:04,480 --> 00:29:06,000 Speaker 3: What do they do with those vegetables? 551 00:29:06,840 --> 00:29:07,160 Speaker 10: Stuff? 552 00:29:07,320 --> 00:29:11,840 Speaker 3: I want to find out make it? Think you make it? 553 00:29:12,280 --> 00:29:14,280 Speaker 3: So what happens it's dry ice? 554 00:29:16,040 --> 00:29:18,600 Speaker 5: If you're in a real house, then you you you 555 00:29:18,800 --> 00:29:21,360 Speaker 5: actually use the real stove, but if you're in a 556 00:29:21,400 --> 00:29:25,520 Speaker 5: studio and nothing is connected or you know, a random sets, 557 00:29:25,720 --> 00:29:27,720 Speaker 5: we use dry ice. So when you put dry ice 558 00:29:27,760 --> 00:29:30,280 Speaker 5: in the waters, I asked, if you put it in 559 00:29:30,400 --> 00:29:35,320 Speaker 5: waters and then the se then it feels like somebody 560 00:29:36,120 --> 00:29:38,360 Speaker 5: I just want to clips from. I think Black Beauty 561 00:29:39,120 --> 00:29:42,280 Speaker 5: was carrying an urn that looked hot. Obviously we can't 562 00:29:42,320 --> 00:29:43,720 Speaker 5: fill it up with water, so it's just not a 563 00:29:43,760 --> 00:29:45,680 Speaker 5: waters and dry ice, and then you know, just to 564 00:29:45,760 --> 00:29:48,360 Speaker 5: make it heavy and believable, and then you know, they 565 00:29:48,440 --> 00:29:50,680 Speaker 5: play with it, you know, so it's easier for the actors. 566 00:29:54,960 --> 00:30:00,520 Speaker 3: See that's quite scary. 567 00:30:01,920 --> 00:30:04,920 Speaker 2: Yeah, but that's so fascinating because we see that and 568 00:30:04,960 --> 00:30:08,360 Speaker 2: we're like, oh yeah, it's it's you think the person 569 00:30:08,480 --> 00:30:10,920 Speaker 2: is really really like doing some serious cooking in this theme. 570 00:30:11,000 --> 00:30:11,160 Speaker 3: There. 571 00:30:11,360 --> 00:30:13,239 Speaker 2: Okay, let's take a quick at break. When we come back, 572 00:30:13,280 --> 00:30:15,040 Speaker 2: we'll wrap up with some more questions. 573 00:30:15,320 --> 00:30:19,480 Speaker 1: Across the desk with Clement on seven O two. 574 00:30:20,080 --> 00:30:23,960 Speaker 2: Seven minutes before eleven outlock. Let's continue as we wrap 575 00:30:24,040 --> 00:30:26,760 Speaker 2: up our conversation with set designers this morning. It's been 576 00:30:26,880 --> 00:30:30,880 Speaker 2: so fascinating learning about the work. It's really smoking mirrors. Hey, 577 00:30:31,480 --> 00:30:35,400 Speaker 2: nothing is real. People when you see them have an apple, 578 00:30:35,520 --> 00:30:39,720 Speaker 2: there question whether it's real or not. There are a 579 00:30:39,760 --> 00:30:42,960 Speaker 2: few more questions that have come through me on the 580 00:30:43,000 --> 00:30:45,239 Speaker 2: What's up, Linde says Clement. Please, can you ask your 581 00:30:45,280 --> 00:30:49,800 Speaker 2: guests if the actors are eating the food on TV? 582 00:30:50,760 --> 00:30:53,440 Speaker 2: Is that like real food that is on the table. 583 00:30:54,040 --> 00:30:57,560 Speaker 2: How do you guys dress up the table? Is it 584 00:30:57,680 --> 00:30:59,160 Speaker 2: like real bananas and stuff? 585 00:31:00,120 --> 00:31:02,280 Speaker 7: If there's going to be actual consumption, If they're really 586 00:31:02,320 --> 00:31:05,200 Speaker 7: eating food, then we definitely make sure that's fresh, that 587 00:31:05,920 --> 00:31:10,480 Speaker 7: it's kept sanitry and hygienic and that, and then they 588 00:31:10,560 --> 00:31:11,240 Speaker 7: do actually eat it. 589 00:31:11,720 --> 00:31:13,800 Speaker 4: We don't want them sick at all. No, we don't 590 00:31:13,800 --> 00:31:15,280 Speaker 4: want to. We don't want to make people sick. 591 00:31:15,320 --> 00:31:18,880 Speaker 7: Obviously, if there's one hundred and twenty extras, we have 592 00:31:18,960 --> 00:31:21,200 Speaker 7: to cheat it. We do cheat that will will give 593 00:31:21,240 --> 00:31:24,080 Speaker 7: them real food. But we'll know some people even spray 594 00:31:24,080 --> 00:31:24,680 Speaker 7: it with dooms. 595 00:31:24,920 --> 00:31:29,360 Speaker 4: Yeah, what do you mean you have to otherwise? 596 00:31:29,480 --> 00:31:29,640 Speaker 10: You know? 597 00:31:29,960 --> 00:31:34,920 Speaker 4: Otherwise your badge, it's gonna be real catering. 598 00:31:34,600 --> 00:31:37,520 Speaker 2: Because sometimes on set you see, you know, these people 599 00:31:37,560 --> 00:31:41,080 Speaker 2: sitting on a table with this elaborate you know, premium. 600 00:31:40,840 --> 00:31:44,360 Speaker 3: Breakfast, you know, and you wonder. Oh that must have 601 00:31:44,520 --> 00:31:45,040 Speaker 3: cost a bit. 602 00:31:45,360 --> 00:31:50,640 Speaker 7: Yeah, that's our department, that's studio. 603 00:31:50,880 --> 00:31:54,120 Speaker 5: You can actually feeze those muffods and then that you 604 00:31:54,200 --> 00:31:54,640 Speaker 5: can eat. 605 00:31:55,160 --> 00:31:55,640 Speaker 3: And then. 606 00:31:57,440 --> 00:32:00,560 Speaker 5: If you have like an elaborate English breakfast, a lunch 607 00:32:00,640 --> 00:32:02,840 Speaker 5: or a dinner, sometimes you have to come up with 608 00:32:02,920 --> 00:32:05,720 Speaker 5: those creative ways. And sometimes we do use prosthetics where 609 00:32:05,800 --> 00:32:10,240 Speaker 5: we create that fixing or fake my friends and cakes 610 00:32:10,280 --> 00:32:12,920 Speaker 5: that we can play around with different colors. Then you 611 00:32:12,960 --> 00:32:14,560 Speaker 5: can use them for more than ten years. 612 00:32:14,840 --> 00:32:18,880 Speaker 4: Yeah, here's another morning morning clearment. 613 00:32:18,960 --> 00:32:21,880 Speaker 14: Do you know what's always funny is every time when 614 00:32:21,880 --> 00:32:24,720 Speaker 14: you have a scene where everybody is ready for the 615 00:32:24,880 --> 00:32:28,680 Speaker 14: day and going for the breakfast is set up and 616 00:32:28,760 --> 00:32:32,720 Speaker 14: then all of a sudden, everybody leaves without even taging 617 00:32:32,840 --> 00:32:36,800 Speaker 14: anything for breakfast. That one is always so funny because 618 00:32:37,880 --> 00:32:41,760 Speaker 14: the breakfast table is so nicely you see the orange juice, 619 00:32:41,920 --> 00:32:45,040 Speaker 14: the foods and everything, and everybody just gets up without 620 00:32:45,120 --> 00:32:49,160 Speaker 14: even eating or just I'm ready, I'm going and push 621 00:32:49,240 --> 00:32:51,920 Speaker 14: everybody's gone and leaving the table full of food. 622 00:32:52,360 --> 00:32:54,320 Speaker 4: That one is the hammer for me. 623 00:32:56,160 --> 00:32:59,600 Speaker 3: That's actually funny because that's what happens. I've never heard 624 00:32:59,640 --> 00:33:00,320 Speaker 3: of it way. 625 00:33:00,360 --> 00:33:03,040 Speaker 2: It's like I'm not going to wake up and I 626 00:33:03,160 --> 00:33:06,920 Speaker 2: leave that amazing breakfast there, and I'm rushing because. 627 00:33:06,680 --> 00:33:09,320 Speaker 3: They're always rushing, and then they'll grab that one apple. 628 00:33:10,640 --> 00:33:11,240 Speaker 5: And left. 629 00:33:11,480 --> 00:33:20,800 Speaker 3: All of that incredible Because Okay, so what would you 630 00:33:20,880 --> 00:33:21,400 Speaker 3: guys say? 631 00:33:21,640 --> 00:33:24,000 Speaker 2: And a question to all of you, what is the 632 00:33:24,080 --> 00:33:28,120 Speaker 2: hardest thing about the job and what is the most 633 00:33:28,160 --> 00:33:29,480 Speaker 2: difficult thing about the job? 634 00:33:29,560 --> 00:33:32,040 Speaker 3: So what do you love about this job? But what 635 00:33:32,120 --> 00:33:34,080 Speaker 3: do you also not like about this work? 636 00:33:34,440 --> 00:33:38,240 Speaker 9: Well, certainly, for me, the most thing that I dislike 637 00:33:38,320 --> 00:33:40,800 Speaker 9: the most the thing I'm doing it because it's difficult. 638 00:33:42,000 --> 00:33:43,600 Speaker 6: I think it is hard to do. 639 00:33:44,760 --> 00:33:47,760 Speaker 9: It's it's difficult to stay with in parameters of budget 640 00:33:47,880 --> 00:33:51,320 Speaker 9: and concept and time and all of that. And I'm 641 00:33:51,480 --> 00:33:53,840 Speaker 9: finally at the end of it, getting through this whole 642 00:33:53,880 --> 00:33:56,520 Speaker 9: struggle to actually have it up and running a camera 643 00:33:57,360 --> 00:34:00,640 Speaker 9: is very satisfying but simultaneously very stressful. 644 00:34:01,360 --> 00:34:04,520 Speaker 6: So it's very much a love I hae you relationship. 645 00:34:04,800 --> 00:34:07,880 Speaker 3: Yeah, and I do both quite hard. Yeah, And you 646 00:34:08,040 --> 00:34:09,560 Speaker 3: what do you like the most about the work and 647 00:34:09,640 --> 00:34:11,000 Speaker 3: what do you not like most about the way? 648 00:34:11,680 --> 00:34:15,200 Speaker 4: I love getting to create worlds. Every day. 649 00:34:15,320 --> 00:34:17,120 Speaker 7: I can create it like a different world or a 650 00:34:17,160 --> 00:34:21,719 Speaker 7: different scenario. You're never in the same place for very 651 00:34:21,800 --> 00:34:25,440 Speaker 7: long and you get to use your imagination, you get 652 00:34:25,480 --> 00:34:27,680 Speaker 7: to create all the time, which is amazing. I mean, 653 00:34:27,719 --> 00:34:30,040 Speaker 7: I think it's very privileged to be in the industry 654 00:34:30,120 --> 00:34:33,640 Speaker 7: that we are in, and we do love it. What 655 00:34:33,840 --> 00:34:35,960 Speaker 7: I don't enjoy it a lot of the time is 656 00:34:36,080 --> 00:34:39,120 Speaker 7: just the amount of pressure and then kind of the 657 00:34:39,200 --> 00:34:43,520 Speaker 7: inability of people to understand the actual process. They think 658 00:34:43,840 --> 00:34:48,400 Speaker 7: as you all do that it just was, it just happens, 659 00:34:48,840 --> 00:34:51,120 Speaker 7: but it doesn't. I mean, it really doesn't, and it is. 660 00:34:51,960 --> 00:34:55,040 Speaker 7: It is the challenge that we love. I mean, I 661 00:34:55,080 --> 00:34:58,040 Speaker 7: think that adrenaline of like, Okay, you know, you get 662 00:34:58,080 --> 00:34:59,880 Speaker 7: this phone call and someone says can you do this, 663 00:35:00,040 --> 00:35:00,440 Speaker 7: and you're. 664 00:35:00,320 --> 00:35:02,400 Speaker 4: Like, yeah, sure, and then you're like to find out 665 00:35:02,440 --> 00:35:08,000 Speaker 4: you're like and I think that's I think. I think 666 00:35:08,160 --> 00:35:10,360 Speaker 4: I think we love the axhilaration and for you. 667 00:35:11,480 --> 00:35:16,000 Speaker 5: Well, I echoe you this because literally the creativity is 668 00:35:16,080 --> 00:35:19,840 Speaker 5: the fun part. But I am quite said that like 669 00:35:20,400 --> 00:35:22,880 Speaker 5: the government, I would say, it doesn't take us seriously 670 00:35:24,000 --> 00:35:27,080 Speaker 5: and we contribute so much in the economy and people 671 00:35:27,120 --> 00:35:30,160 Speaker 5: don't really realize. Speaking to what you just said, you know, 672 00:35:30,320 --> 00:35:32,160 Speaker 5: if we can just pay attention to that, because even 673 00:35:32,200 --> 00:35:35,239 Speaker 5: our by just are getting cut, you know, our salaries. 674 00:35:35,640 --> 00:35:37,560 Speaker 5: I don't know if I should be saying this, but yeah, 675 00:35:37,800 --> 00:35:41,960 Speaker 5: if we can just you know, because this is our life, 676 00:35:42,200 --> 00:35:45,000 Speaker 5: like livelihoods, and we do so much. We spend so 677 00:35:45,080 --> 00:35:49,120 Speaker 5: much time, you know, to create worlds that people escape from, 678 00:35:49,480 --> 00:35:51,400 Speaker 5: you know, because when you come home from work and 679 00:35:51,440 --> 00:35:53,919 Speaker 5: you're tired and you've been in corporate, when you watch 680 00:35:54,000 --> 00:35:56,719 Speaker 5: that TV, we relieve your you know, your stress, your lively. 681 00:35:56,800 --> 00:35:59,480 Speaker 5: We transport you to different worlds, which is quite exciting, 682 00:36:00,120 --> 00:36:00,320 Speaker 5: you know. 683 00:36:00,760 --> 00:36:04,919 Speaker 3: So yeah, and it must be an appreciation of that absolutely. 684 00:36:06,920 --> 00:36:09,440 Speaker 7: I mean, as people always you say that this is 685 00:36:09,480 --> 00:36:11,600 Speaker 7: not brain surgery, We're not saving lives. 686 00:36:11,680 --> 00:36:15,719 Speaker 4: Yeah, and I'm like, you know what there actually we 687 00:36:15,880 --> 00:36:18,200 Speaker 4: do you really improve? It's that escape, doesn't that people 688 00:36:18,360 --> 00:36:19,680 Speaker 4: need psychology? 689 00:36:19,840 --> 00:36:22,320 Speaker 5: Like people take a lot of advice from being Sometimes 690 00:36:22,320 --> 00:36:24,719 Speaker 5: they see themselves in the characters you know, and you know, 691 00:36:25,120 --> 00:36:27,520 Speaker 5: per form their choices so relatable. 692 00:36:27,640 --> 00:36:29,880 Speaker 2: Yeah, guys, thank you so much. Well, we appreciate the 693 00:36:29,920 --> 00:36:32,520 Speaker 2: work you guys do. That's why we've invited you here 694 00:36:32,960 --> 00:36:36,839 Speaker 2: to find out more, to find out more about this work. 695 00:36:36,880 --> 00:36:39,920 Speaker 2: It's so fascinating. I think it's been so insightful. And 696 00:36:40,040 --> 00:36:43,760 Speaker 2: we now understand more about these set designs and production designs. 697 00:36:43,800 --> 00:36:45,560 Speaker 2: So thank you for making time for us and all 698 00:36:45,600 --> 00:36:45,919 Speaker 2: the best