Veteran set designer and Malibu resident Richard Reynolds has produced designs for blockbuster films such as “Avatar” and “Pirates of the Caribbean,” as well as more than 30 TV pilots and series.
By Jimy Tallal / Special to The Malibu Times
You don’t know his name, but chances are you’ve seen his work. Malibu resident Richard Reynolds has been doing set design for stage and screen for the last three decades. During that time, he has worked on more than two dozen major films, including “Avatar,” “Pirates of the Caribbean: Dead Man’s Chest,” “Pirates of the Caribbean: At World’s End,” “Minority Report” and “Terminator 3: Rise of the Machines.” His vivid imagery has also appeared on more than 30 TV pilots and series, including shows with Emmy nominations and awards for art direction such as “House” and “Carnivale.”
The Malibu Times caught up with Reynolds to find out about the craft of set design and the role it plays on our TV screens and in our theaters.
What does a set designer do, exactly?
You work in the art department under the production designer and art director; and consult with them all the time. They lay out the kind of set they want in a schematic way, give the overall dimensions and explain how it’s supposed to function—what the actors are doing in the scene and how the director wants to shoot it. They designate which walls are “wild” walls, meaning movable for the cameras. I then design the set on the computer (usually referred to as “pre-vis,” or pre-visualization), then give the director a 3D walkthrough. After changes are made and everyone agrees on it, I finish the design in detail and create the actual blueprints, etc., used by the set construction crew.
How has set design changed with the industry over the past 30 years?
You’re less involved with the actual construction of the set than in previous decades. None of that happens anymore. There’s also been the move from 2D to 3D animated design. About 15 years ago, I was the first set designer in Hollywood to do 3D set design and then draft the construction documents from the 3D model. Some of my colleagues call me “ground zero.”
What are some of the biggest productions you’ve ever worked on?
“Batman and Robin” had 52 people in the Art Department, 500 people in construction and 500 people doing costumes. “Avatar” was big, but very far-flung [decentralized]. The art department in a typical major production may have 10 illustrators, 20 set designers, five model makers, a researcher/archivist, art directors and a production designer.
What’s happening in “Glee” this season? What sets did you design for them?
I designed two permanent sets—a dance studio and an apartment, working from photos of actual buildings taken by the location manager. I had to make the interior of the studio match a particular exterior location, including what you can see through the windows.
Do you specialize in any particular area of set design?
Lately, it’s become boats, ships, trains and aircraft. I’ve just done three train movies in a row.
What did you design for “Avatar”?
The corridors and interiors of the human mining camp on Pandora.
Have any of your set designs required historical accuracy?
Designing the ghost ship for “Pirates of the Caribbean” 2 and 3 is one example. We had the most fabulous library—hundreds of historical books on sailing ships from that era—to work from. It was put together for the movie by the researchers and served us very well. The ship’s look was fashioned after the Swedish warship Vasa from the 1600s, which was one of the largest of its kind. The design was then built in a Bahamas shipyard.
What are the longest projects you’ve had?
I worked on “Pirates of the Caribbean” 2 and 3 for a year. “Battleship” was eight months and [TV series] “SeaQuest” was a year and half.
What is the biggest set you ever worked on?
The Tom Hanks airport movie, “The Terminal.” It was the largest interior Hollywood set since the “Babylon” set back in the 1920s. A 60-foot high airport terminal set was built in Palmdale in the same building that was used to build four B-2 bombers simultaneously. I did go out to that site while it was being built. The movie was made the year after 9/11, and most actual airports wouldn’t allow filming for security reasons.
How many set designers are there in Hollywood?
About 300 of us belong to the Art Directors Guild.
What qualifications are needed to be a set designer?
I use formZ and Rhino 2D/3D modeling software for Mac; and you have to have technical background in set design, architecture, CAD drafting, proportion, blueprints, modeling, rendering, etc. You bring your own computer and equipment to each job, which is an ongoing investment of thousands of dollars with constant upgrades.
Do you have to interview for each project?
There is an interview process, but not that much. I usually only get calls from people I’ve worked with before, or people who’ve gotten a recommendation from someone I worked with before. You usually only get one or two days notice to start work on a TV show and one week for a movie.
Have you done anything in Malibu?
I know Graeme Clifford (director) from when we were both instructors at AFI [American Film Institute], where I taught 3D film design for 10 years. I did set design and lighting for two of his Malibu Stage Co. productions—“A Soldier’s Play” and “Rabbit Hole.”