A JOB STARTS HERE

On the assumption you have been selected for a production. The first task is an in depth meeting with the director and producer. I find here that ones time is spent best grabbing as much information as possible. I try to avoid answering direct questions until I have taken in the project as a whole. The director has (usually) been picked because he/she has done a preferable treatment and one has to analyse all the aspects of this treatment to get a clear picture of what's required.

The budget rarely is enough to allow for all the needs of the production so one of our main tasks is to identify where possible compromises can be made.

Once this initial meeting is over I'll usually do research. It might be a special period or theme that needs working on but I find that if I can surround myself with as much information as possible it gives me my own perspective with which to work out a strategy. This research involves looking at books and on the web plus communication with specialists and/or taking photos.

I'll then start working on some sketches. I try to complete about three different ideas, just in rough sketch form, and get these over to the director to discuss. One of them is usually close to what the director has in mind; it's this one I'll develop. I'll work out its rough dimensions and how long I think it would take to build. This will give me an indication of overall cost and where it could be built.

Usually we are asked to estimate the price for the art department and the producer compares this figure with what's been originally allowed. At this critically creative phase it's often unwise to start thinking too much about budget until the design is more finalised. I find that if I have an idea that's right, it can often be edited down to fit the required price.