This document is a dissertation submitted by Ornella Hawthorn Gardez towards a Bachelor's degree in Film. The dissertation argues that set design plays an important role in creating authenticity, realism, and illusion for audiences of narrative films and television. Chapter 1 will define key terms like authenticity and realism, and discuss how set design can create the perception of authenticity through illusion. The methodology will include interviews with an expert and a focus group analyzing audience responses to clips from Mad Men, Downton Abbey, Titanic, and Alien. The focus group aims to explore how realistic sets influence viewers' minds and feelings. Overall, the dissertation examines how set design contributes to storytelling and the audience experience.

1. May 2015 BA (Hons) Film
FLM 305 Dissertation
Tutor: Rebecca Lloyd
Ornella Hawthorn Gardez
May 2015
A STUDY OF THE IMPORTANCE OF AUTHENTICITY OF
SET DESIGN IN NARRATIVE FILMS AND TELEVISION
Submitted to Falmouth University towards the degree of Bachelor of Arts
I certify that all the material in this dissertation which is not my own work has been identified as such
and that no material is included for which a degree has been previously been conferred on me
Signed ………………………………………………………….

2. CONTENTS
Abstract 3
Introduction 4
Chapter One 8
Chapter Two 15
Chapter Three 21
Chapter Four 26
Conclusion 34
Bibliography 36
Filmography 40
Figures 41
Appendix 1 42
Appendix 2 51

3. ABSTRACT
Set design in films and television are never neutral elements/additions to the audience
experience. The designs of sets, from periodic to contemporary to futuristic, hold more
messaging than is probably initially perceived. The messaging serves as a purpose to
translate emotive responses within the audience ranging from fear to happiness and
acceptance of the theme. This dissertation will be arguing how set build can add to the
overall viewing experience of the film and TV audience and how it is an integral part to the
production as a whole. The set can place the viewer in an extraordinarily advantageous
position. From the onset a theme is established, a character is created and a mood is
conveyed. This will be illustrated by examining the set designs of the following
productions; Mad Men (Matthew Weiner, 2007-2015), Downton Abbey (Jualian Fellows,
2010- ), Titanic (James Cameron, 1997), and Alien (Ridley Scott, 1979). By using design
semiotics and signs, this dissertation will argue that certain designs signify certain cultural
and societal ideals, and more specifically; fears. It is through all of these different theories
and films that my dissertation will discover how set design plays an important role in
period, contemporary and science fiction television and films; in creating a role where the
emotive responses can be translated in a visual way.

4. INTRODUCTION
The time available to establish a character and setting, in a movie is very limited and the
set build and design can become the most important aspect of the audiences initial
perception of the story. The entire movie can hang on the opening scene and the set can
create the first but often the most significant impression of the whole storyline. It can
establish characters’ history, it can set the mood, and it can provide the opportunity for
suspense, horror or wellbeing in an instant.
‘Is the role of design to attempt a historically accurate recreation of the period in
question, or should it concentrate on conveying the essence or spirit of the time?
Visual clichés which exist in this genre will be examined in an attempt to uncover why
they have become so self-referential. The role of props in this is crucial: what objects
are chosen to define others and ourselves on both a superficial and psychological
level? Film and television follow on from painting, literature and theatre in their need
for a variety of props to assist in the development of the narrative’ (Barnwell, 2004, p.81).
The production designer on television and film sets works with the director to create the
sets. This dissertation will explore the significance of the contribution from the production
of set design and the discourse of the importance of creating a perception of authenticity
and realism within period drama. It also discusses the importance of set design within the
science fiction genre and considers how audiences are influenced by the design of these
sets, where the importance of authenticity and realism are replaced by illusion. It is the job
of the production and art department to design and create the set, and the director to shoot
the scene to amplify the setting. This is a collaboration of a vision that could start from
either roles but undoubtedly ‘the sooner the production designer works with the director,
the better’ (Olson, 1999).
In period dramas, filmmakers have artistic license to create authentic settings to persuade
the audience they are watching scenes that are set in the appropriate time or location for
the story. In science fiction, filmmakers have artistic license to create illusions that
immerse the audience in a situation that is unrealistic which can enhance the experience
and emotion of fear and intrigue.
Authenticity can be defined and achieved in a number of ways. In literature, authenticity is
used both as a noun and as an adjective. The dictionary definition of authenticity as a
noun is ‘the quality of being authentic; genuineness’ OXFORD DICTIONARY. An example
of this would be: ‘the paper should have established the authenticity of the documents
before publishing them’. As an adjective, authenticity is described as ‘unquestionable
evidence; authenticated; verified’ for example: ‘an authentic document of the Middle Ages;
an authentic work of the old master’. In regard to the authenticity of the set, it is the
designer and directors intention that the audience respond positively to the setting of the
film and therefore the storyline. Even though the audience knows that they are watching a
film or television production, they can invest more in the story and feel that it is authentic
and therefore believable.
It is also important to discuss realism or the perception of realism in a period drama. ’To be
realistic is an expression often used when describing the success of an illusion’ (DeMelo,
2007). Robert DeMelo explains reality as ‘composed of other realities; and created by the

5. observer's perception’ (DeMelo, 2007). DeMelo describes how it is the observation of the
individual that determines the acceptance and success of the illusion. Therefore in film,
one could conclude that it is the job of the set designer to create the illusion and convince
the audience that the film is authentic.
Creating an illusion can be a different discipline to authenticity. As artists we are able to
give hints and strategically place objects to trigger the emotive response within the
audience. ‘An effective prop, for instance, can stand for the film as a whole by distilling the
period, character and narrative’ (Barnwell, 2004). This enables the audience to place the
set within the correct era or location for the scene. When the filmmaker or artist gets it
right, it is seamless and appears almost effortless. This dissertation intends to show how
the audience is receptive and comfortable with the setting and how they relax to
concentrate upon the storyline. When it is wrong, it becomes an obvious eye sore. The set
is awkward and the plot and dialogue become incongruous as the audience struggles to
emotively accept the realism of the setting.
The Introduction to my dissertation will include an explanation of my dissertation title,
establish my argument, main theories and list the contents of each chapter. In Chapter 1, I
will define authenticity, define realism and discuss the creation of the illusion or perception
of authenticity, within the film and television industry. I explain the methodology and
hypothesis of the authenticity of set design in the film and television industries. I discuss, it
is not as simple as ‘authenticity doesn’t exist in film’, and I consider contributing arguments
that there is a difference between authenticity, realism and illusion. I also consider the
theme of desire and the connection to a production. In Chapter 2, I discuss the challenges
of creating sets for television and refer to two main case studies taken from the following
examples: Mad Men and Downton Abbey. In Chapter 3, I discuss the challenges of
creating sets for film and refer to two main case studies taken from the following examples:
Titanic and the science fiction film, Alien. In Chapter 4, I interview Patrick Lowry and
discuss the findings of a survey generated from a focus group. The group were shown
clips from the examples of case studies in chapters 2 and 3 and answered questions
regarding the importance of the production design in all four case studies. Finally, in my
conclusion, I examine and summarise my research and theories, and what I have learned
since my research began. What information and results I wish to consider and finally what
I will take forward and apply in my own set designs as a narrative filmmaker.

6. CHAPTER 1:
The introduction of authenticity and its importance in a set build.
Throughout the research method part of this dissertation, the key themes and arguments
that began to emerge in the literature review will be explored extensively, and answered in
the analysis section. Theme 1: The perception of authenticity of a film or television set and
how are audiences influenced by social clichés. Theme 2: Realism, how does the
authenticity of a set add to the realism of the story being told? Theme 3: Illusion, how does
the viewer connect with the space so that it becomes a ‘place’ of community? Theme 4:
Desire, is there an emotional connection with the audience? These are the chosen themes
because this is an area that has not been extensively studied, although it is definitely an
important part of why set design exists and how a film works as a believable device.
The methods chosen to reinforce my argument are a one on one interview with Patrick
Lowry and a focus group. The focus group will analyze the audience’s response to
questions on four clips, two from TV shows and two from Films. The findings I hope will
explore how a realistic set influences the viewer’s mind and feelings towards a visual piece
of media. The one on one interview will be an insightful look into the world and work of
Patrick Lowry, demonstrating his feelings towards set design and how he uses this
medium in his installation art.
The positives of a focus group with audience analysis are as a way of analysing the
audience’s responses to the TV program or film, by exploring their answers in relation to
the literature review and in comparison to Patrick Lowry’s views.
The positive of a one on one interview with Patrick Lowry is that by conducting the
interview face to face, it provides an intimate thoughtful look into his work and the thought
process behind it. It produces personal information, and perhaps new answers that the
interviewee has not considered before. The inclusion of these two analysis techniques will
lead to a collection of qualitative data, where the two pieces of analysis will be compared,
showing their most important similarities and differences. I interviewed Patrick Lowry, an
artist who produces three dimensional installations. Lowry had previously lectured at
Falmouth University and I was interested in his approach to his own work, the effect his
work had on his audience and also his perceptions of the definition of authenticity in regard
to his own work and to film production design. I wanted to ask Patrick, what his inspirations
were, and why he chose the objects as installations. What was his purpose? Also, what
was the message he was conveying?
When considering what questions to ask Patrick, the theoretical context of one on one
interviews was explored. Because this can be considered quite a broad subject range, the
questions must remain focused and to the point, therefore limiting the amount of analysis
that can be carried out, making this dissertation a more concentrated one. ‘It is a matter of
discovering trends, relationships and differences.’ (Hansen and Machin, 2013)
The focus group were sent 4 clips to watch from the following TV series’ and Films:
Mad Men, Downton Abbey, Titanic and Alien. The focus group questions asked, How does
each clip make you feel - from relaxed, entertained, engaged or disinterested (on a scale
from 1-5)? What was the most important aspect - storyline & characters, set design,

7. acting, sound & music, editing & post production? Other questions were then specific to
the individual clips in relation to the set within that period, how the set contributed to the
overall suspense and if they noticed the set more than the storyline, acting etc. (Appendix
2)
All of the qualitative data collected will then be compared to each other and reflected upon
whilst considering scholars’ views on the chosen theme. The questions asked to both
Patrick Lowry and the focus group members have been carefully planned and arranged to
make them consider the subject area in relation to my dissertation. If their answers do not
match up, this will be explored in the analysis section, as well as what they agree on. It is
also important to consider that these answers will not be definitive proof of how set design
influences the audience, it is a starting point and it is a small look into the subject area.
Through critical discourse analysis, the answers will be examined and compared to work
scholars have done on the subject, therefore creating a richer, more intelligent argument.
In order for the audience to recognise a place as a set for film and tv, it is important to
examine discourse on the theory of spatial recognition. Jan Blommaert, a Professor of
African Linguistics and Sociolinguistics at Ghent University refers to the importance of
spacial references that enable a sense of recognition and community. ‘Several scholars
before me have noted the importance of space and spatial references as organising motifs
in narratives, emphasising how space provides a framework in which meaningful social
relationships and events can be anchored and against which a sense of community can be
developed (e.g. Johnstone 1990), how it can become the overarching motif in historical
and identity narratives (e.g. Collins 1998; Feld and Basso 1996; Masquelier 2002; Thomas
2002), or how communication develops within densely semiotised spaces, so that people
always speak in a place (Scollon and Scollon 2003). Space can be filled will all kinds of
social, cultural, epistemic, and affective attributes. It then becomes ‘place’, a particular
space on which senses of belonging, property rights, and authority can be projected.
Adopting the idea in its most general form, we can say that identities often contain
important references to space or incorporate spatial locations or trajectories as crucial
ingredients.’ (Blommaert,2005). He refers to the importance of space, of the attributes that
create the space a recognisable place to exist in. Once accepted as a place, the
community or in this case the audience, can accept it.
In this way, sets are designed and produced with a specific purpose - ‘to engage the
audience in an emotive way’. (Bardacq, 1976) If an audience can form a connection with a
set, a space, an identity they can familiarise themselves with and are comfortable with,
then the production designer has succeeded in achieving their goal. When asked how
production design is essential to the story of The Great Gatsby, production designer
Catherine Martin says, ‘Just as the music plays a key role in establishing the tone, the sets
are central to establishing character and showing the inner world in an outer
way’(Goldfarb, 2013). Martin displays this idea through production design in the film.
Whilst the characters of the upper class live in massive mansions with high ceilings and
cold marble floors, the characters with less status live in comfortable, cozy cottages and
apartments. The director, Wes Anderson uses the set to establish a character,. It is often

8. the case that filmmakers have only a short time to establish the story’s characters. ‘Rather
than waste valuable time having his characters orate personal anecdotes into the camera,
Wes instead opts for elaborate set designs to add depth to his characters’. (Schaeffer,
2014). As in Blomaert’s theory, Wes creates a space, a place for the characters to exist, he
spends a great deal of pre-production time working with the production team on the design
of the space ‘more often than not, symmetrical image of a characters bedroom or living
room' (Schaeffer, 2014) and with the use of colour palettes and ‘strategically placed
personal items’ (Schaeffer, 2014) he educates us with the historical background of that
character.
Richard Day, a producer who won seven Oscars for art direction and set design, had a
reputation as one of the most imaginative art directors in the business. He worked for the
major studios in Hollywood on their most important productions. ‘His best sets, in which he
combines imagination, feeling, and realism, are his later ones: Elia Kazan's A Streetcar
Named Desire (1951) and On the Waterfront (1954), where the sets look like extensions of
the real locations’ (Bardacq, 1976, p.62). These sets were intended to be as realistic as
possible, primarily because they were an extension of the landscape. In A Streetcar
Named Desire, the camera pans down the busy street of San Francisco in the 1950’s.
following a tram. The set is built to replicate an upstairs apartment just off the main tram
line street. Also, Kazan’s On the Waterfront has scenes that follow Terry Malloy walking
down to the office at the end of the dock which is a replicated version of an office hut from
that location during the 1950’s. ‘The production design may often incorporate a larger
version of a set in order to create an emotive response from the audience’ (Bardacq, 1976,
p.).
My primary research is the method of examining various films and television productions
selected to specifically illustrate the challenges of creating an authentic set. This is a
critical approach that has not only enabled me to differentiate between the style of period
pieces but has also enabled me to highlight the challenges associated with each
production. My primary research will also include an interview with a designer. Although
time consuming and costly, the advantage of this primary research is that I am able to
select the questions I ask my interviewee in order to gain the information I require for my
subject. This dissertation will use critical discourse analysis and the words used to
understand how the interviewee feels about what they are saying. This form of analysis is
called sociolinguistics. Because these answers are the individuals’ opinion, there is no way
of telling whether they are right or wrong.
My secondary research has been predominately the gathering and comparison of existing
text publications and information. The problem with secondary research is that i can only
use the available material which often is not directly specific to my argument and does not
suit the structure of my work. But I have found, by immersing myself in many different
sources of information, I have been able to prepare/direct/establish/conclude/gather the
pieces of information, that as a collective have been very relevant to my subject.

9. During my research I found it was difficult to find information that directly referenced my
subject matter of the importance of the production designer. This was interesting as it
would imply that the subject has not been written in depth and therefore my research and
theory requires a lot of personal summation and input. There were some books that
touched on the subject but were not initially directly relevant. Even so I decided to explore
all content to maximise my knowledge. I researched some books that were not referencing
my project directly, but I hoped had some relevance. I researched the book by Dietrich
Neuman; Film Architecture: Set Designs from “Metropolis” to “Bladerunner”, because I was
interested in how it discussed the approach of the build of a futuristic set and making it
believable. In the book Newman discusses the techniques of the sets they were creating
for futuristic films including ‘Bladerunner’ and ‘Metropolis’ and the challenges are very
different from period drama. Futuristic sets are more readily believable. This is a strange
statement when read in context to the subject of this dissertation. Alien, fits within this
theme. Although Alien is a fictional narrative, the set is more easily accepted as believable,
as it is futuristic. We have nothing to compare it to as it the future and also in a place that
is unknown to us. We are more ready to accept this than for a set for a period drama that
does not convince us of it’s authenticity. The challenge I wanted to highlight with my own
dissertation is that is more difficult to create an authentic, believable period piece as there
is already a knowledge of the history of that era. Even if the majority of the audience is not
wholly familiar with that particular period it is imperative to strive to be authentic otherwise
the film does not hold any credibility.
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10. CHAPTER 2:
TV case studies Mad Men & Downton Abbey
There are many methods of establishing time recognition within the audience. As in the
case of Mad Men, the perception of authenticity is paramount. ‘What is it that ages them to
such a degree? It may be the material used, for example a Formica table or a plastic chair.’
(Barnwell, 2004, p.89). The materials used on the construction of the sets and the colour
palettes from that historical era of the storyline, are used to ‘convince’ the audience to
believe in the realism of the production by the art department and set designers. Often the
usage of a strategically placed object or ‘vision’ which is usually a stereotype of that era, is
used. 'Rather than attempt the museum-like reproductions found in the British cinema,
Hollywood designers usually tried to evoke the spirit of the period' (Mandelbaum 1985:
142) (Barnwell, 2004, p.80) For example; 1960’s cars like the Imperial Crown Convertible,
packets of cigarettes without warning signs, beehive hair do’s and pencil skirts.
Fig. 1 - Mad Men, Don Draper’s office.
These symbols, which originate from the sixties, are highlighted to register subliminally,
within the emotive responses of the audience. A scene in the manager’s office, for
example, would include the 60’s cigarette packets, circular ashtrays and whiskey
decanters on trays. Whilst these objects are not used by the actors directly, or referred to
within the scene, the audience have already subconsciously acknowledged them, as Ken
Sanes states ’As a result, a process of recognition sets in.’ (Sanes, 2015) and the
audience accept their reference to the appropriate date, setting and style of the scene. If
taken away, these objects would possibly allow doubt to seep in. The set could become
just walls decorated with the appropriate colour of that era and this would not necessarily
be enough to convince the audience and therefore pinpoint the era of the narrative.
Mad Men is a USA TV series depicting an advertising agency set in the 1960’s in New
York. The sets are very iconic and stylish and full of clichés from the advertising offices of
that era. Some props may not be actual original objects and Jane Barnwell, film lecturer at
London Guildhall University, challenges the assumption that everything should be an
accurate replication. ‘Is the role of the design to attempt a historically accurate recreation
of the period in question, or should it concentrate on conveying the essence or spirit of the
time?’ (Barnwell, 2004, p.81). There is an argument to support this, as the way the
characters move within these offices is so specific to this era and different to present day.
For example, people smoke in the offices, all the time. They drink alcohol during meetings
and most of the women are usually assistants or typists who are regularly referred to
sexually.
A physical example of authenticity because of realism, and the contrasting build of a set, is
in the case of Downton Abbey. A period drama, popular in America possibly due to the
insatiable desire the Americans have for the English heritage. Barnwell, challenges the
romantic representation which is noticeably present in the production and sets of many
classical British dramas. ’Britain's history is a major selling point in terms of commercial
film making and has been criticised for creating a romanticised nostalgic picture of a past

11. that never really existed.’ (Barnwell, 2004, p.83). As well as being an example for
romanticised nostalgia, Downton Abbey challenges the romantic notion by including some
harsh realities that were present especially during war time in Europe. These sets were a
challenge for the production team, to create a seamless transition between Highclere
House and the trenches in France. Another controversial subject that was covered, was
the renowned rape scene which used the confines of the cramped downstairs servants
rooms to highlight the trapped situation Anna found herself in. The viewer could feel more
aware of the oppressive situation Anna is in as she is forced into the small office where the
attack takes place.
Fig. 2 - Downton Abbey, kitchen downstairs behind the scenes.
In the set production, there is a clear division between the upstairs, upperclass section of
the stately home and the downstairs, servants working area. The upstairs has the quality
of being authentic, as the scenes are shot at Highclere Castle. Highclere, built in the 8th
Century and rebuilt between 1839-1842, is a genuine stately home and since 1679 has
been home to the Earls of Carnarvon. The rooms are vast and palatial, the staircases are
sweeping and grand, the decor of all the rooms is opulent and colourful. All of the materials
that make up the furniture, frames and wood panelling are completely authentic, this
allows the audience to fully immerse themselves in the characters, who are so well suited
to their surroundings; the Earl and Countess of Grantham and their family.
In contrast, the servants area was constructed from scratch, at Ealing Studios. This was
partly due to the fact that the downstairs area at Highclere does no longer exist in it’s
original state, therefore the set was not authentic. The challenge was to make it appear
believable and convince the audience that, although different in character, it was still part
of the same era, making the transition between downstairs and upstairs appear seamless.
The set created, include rooms that are small and confined, corridors and staircases that
are cramped, walls and surroundings with a colour pallet that is bleak and sallow. It is
wholly apparent that the characters that occupy this area are less affluent. It was also
perhaps beneficial the construction at Ealing Studios enabled the art department to
highlight the contrast between the opulent upstairs and the working downstairs. This is
documented by Bardacq when referring to the contrast in the sets between the Russian
aristocracy and the conspirators, ‘In contrast to the monumental grandeur of the sets in
which the czar appears, the conspirators slip through low door ways, compelled by the
vaulted ceilings and narrow stairs to crouch and contort themselves.’ (Bardacq, 1976, p.
135) He observes the altered body language of the actors on the sets of the confined
spaces of constricted stairways and low ceilings, designed by John Box who won an
Academy Award for the production on Nicholas and Alexandra (1971).
Downtown Abbey is a very successful TV series that airs and is as popular in The USA as
it is in the UK. It is a story of two halves, the upper class family of the Earl and Countess of
Grantham that occupies Downton Abbey, set in Yorkshire, and the servants that work
below stairs to keep the house turning over. The series illustrates the vast, colourful,

12. opulent setting of the upstairs, which are shot at on location Highclere Castle and in
contrast the cramped, monochrome downstairs servants working area which is shot on the
sets constructed at Ealing Studios.
There are many examples of bloopers on sets, where a successful film has been held to
ransom and ridiculed because the set depicted an error that was not authentic to the
period. Sometimes it can be something minor, for example - the glimpse of a wristwatch in
a Roman gladiatorial scene or more recently the presence of a plastic water bottle on the
mantlepiece of a Jacobean house in a scene set in the 1920s. This was in the form of a
water bottle that appeared on the mantlepiece during a promotional shot at Highclere
House. The actors were standing in front of the fireplace in period costume which
highlighted the error even more intently. This has now resulted in a ban of present day
accessories on set. As Barnwell notes, ‘In Mainstream period work, it is precisely these
elements that must be eradicated to promote the seamless nature of the project. For
example, telegraph poles or electricity pylons are considered a menace on exteriors, and
when a designer does accidentally allow something out of time into the shot this is termed
a 'howler' .i.e. undesirable and rather embarrassing.’ (Barnwell, 2004, p.87). There is more
evidence of ‘howlers’ on Downton Abbey as viewers claim to see many of these modern
day objects during the exterior scenes. For this reason the set build at Ealing studios has
an advantage over the shooting at Highclere as faults such as these can be controlled.
Interestingly, as a contrast to the Downton Abbey hiccup, The Truman Show is a film that
actually exposes disguised authenticities. The film is based upon a TV show where the
main character is the only person who is unaware that the whole set (which encompasses
a town on an island) is in fact the set of the TV show which is watched everyday by
millions. Behind every facade are the cameras and crew hiding from the main character
and anticipating (whilst driving) the character from place to place. Interestingly there are
multiple opportunities for product placement during the the broadcast, of which the main
character is completely unaware. The whole scenario comes unhinged when Truman,
suspicious of the life he is leading, suddenly decides to enter a building he passes by daily
and tries to use the lift. The crew are not ready for this scene and the back stage area is
fleetingly exposed to Truman. The scene is striking as it is almost a metaphor for how
filmmakers trick the audience to be convinced of the authenticity.
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13. CHAPTER 3:
Film case studies Titanic & Alien
For the shooting of the film Titanic, the set was built to replicate the magnificent structure
and design of the original ship. It challenged conventional methods of set building, Titanic
was a huge production set build and James Cameron used the vast and magnificent
interiors to create a build up of tension that culminates in a terrifying climax when the ship
goes down.
Fig. 3 - Titanic, ship set behind the scenes.
In a similar way to Titanic, the set of The Shining (Stanley Kubrick, 1980) had a significant
part to play in the look and feel of the movie. There was apprehension as the scenes shot
in huge opulent period hotel corridors were suddenly flooded by blood as the lift at the end
of the hallway opened its doors. The Titanic’s similar scenes of interior grandeur and
opulence disturbed by the rising water, created the same tension and apprehension.
Stanley Kubrick referred to the tension he wanted to create on set, ’We wanted the hotel to
look authentic rather than like a traditionally spooky movie hotel. The hotel's labyrinthine
layout and huge rooms, I believed, would alone provide an eerie enough atmosphere’.
(Kubrick, 2011). He is allowing the normality of the hotel to provide a background for a
narrative which originally appears normal. This is similar to Titanic and deliberate, it is
intended to amplify fear and effectively builds the tension to the horrifying climatic
conclusion.
Titanic was a production designers nightmare, as everything on the set build of the ship
had to look ‘authentic’. This was a set that was a replica of one of the most publicised
disasters in history, images of the original could be found easily and could be compared to
the set build continuously. Although Mad Men and Downton Abbey were also replica’s their
need to look ‘authentic’ was not as strict. Mad Men was having to replicate a period of time
and not a specific room/building, as the Titanic was replicating the exact ship and Downton
Abbey was half shot on the home location of the storyline, the set build ‘downstairs’ was
never photographed or recorded and therefore was not as vital to reproduce as accurately.
Interestingly James Cameron wanted the Titanic to be as authentic as possible but as the
ship had now sunk he chose to model the set build on the look and feel of it’s ‘sister’ ship,
The Olympic. The Olympic was a ship built of the same class and of virtual identical design
and provided an excellent reference to the interior of the Titanic. The hull of the ship was
constructed in a dry dock area near San Diego as it was so huge. It was constructed so
that it split in two and tipped to give the impression that the rear half rose out of the water
as the front pitched into the ocean, straining the ship until it split and the rear came
crashing back down to sink.
The life size ship built for the film was built in Baja, Mexico. ‘It was constructed in two
halves but joined to appear whole. The main section of the set was tilted at 6 degrees for
actors to be filmed running up the deck. The camera was tilted to further emphasise the
angle and add to the illusion of the sinking of the ship. A new waterline was added digitally

14. and a new horizon in the sky to correct the extra camera tilt.’ (Jon Landau, Producer,
Titanic). The task to build the replica was daunting, Peter Lamont, the production designer
declared in the 1997 time lapse of the set build construction, ‘We’re going to do in 100
days with 500 workers what it took 14,000 men over three years to accomplish……sort of.’
(Peter Lamont, Production Designer, Titanic).
Titanic had many beautiful props that have now become collectors items, ’An effective
prop, for instance, can stand for the film as a whole by distilling the period, character and
narrative. According to Stuart Craig, in every film there are one or two objects that become
really special; 90 percent of effort has gone into that one thing and it becomes a trophy at
the end of the film.’ (Barnwell, 2004, p.85). An original Stained Glass Window Section from
the Smoking Room was recently sold with a letter of authenticity. Only two of these
survived the sinking of the set build of the ship and its dismantling after the movie. The
other one was in fair condition with damage and missing about half of the faux leading.
Fox Studios only has one small glass window, nothing else, no large windows or a full 4
pane window section. Nothing else survived.
Alien is a film where the set and volume of space is designed to intimidate, ’It is regarded
that there are seven spaces of action that occur on film: spaces of power, private spaces,
labyrinth spaces, transit spaces, stage spaces, virtual spaces and location spaces. Space
of power make characters 'appear small, vulnerable and exposed in a space designed to
intimidate.' (Caldwell, 2008). The production and design of the set of Alien became a
significant factor in the narrative as in similar way to German expressionist film sets like
Metropolis (Fritz Lang, 1927). Metropolis was a film that many claim to be the original
futuristic film. ‘German cinema was more architectural, more painstakingly designed, more
concerned with atmosphere. The Germans shot the set, not the stars, and when they shot
the stars the anatomised them into eyes and mouths and hands.’(Jacobs, 2007, p.16). The
terrifying creature and set of Alien became a major component of the film and the
creature’s designer, the artist H R Giger, who won an Oscar for his design. The set of
Metropolis is as important as the narrative as it makes a Alien, HR Giger, 1978 point about
contemporary issues.The set of Alien is as crucial to the narrative as it sets the scene for
the film. There is very little dialogue in one of the opening scenes, where the crew discover
the Alien mother ship.
Fig. 4 - Alien, discovery of the alien mothership.
They explore the vast deck (above) and find the huge alien pilot, fossilised, in what
appears to be the control seat of the dormant ship. This leaves room for the audience to
take in what is being presented before them. The set is magnificent, the style of which had
never been seen before. The textures are dark, dirty and organic. The crew appear
dwarfed in comparison to the alien pilot and this further emphasises the fear that is
apparent from the only woman crew member in this scene, as she says ‘Let’s get the hell
outta here’ (Alien, 1979). It is apparent that the shots in this scene, where the actors faces
aren’t visible, are actually performed by children. Ridley Scott was disappointed that the
set wasn't quite big enough so he suited up a couple of kids in similar space suits and

15. made them walk around in order to appear the alien pilot and the entire set looked bigger
than it actually was.
The almost overwhelming set of Alien has similarities with the German architectural
expressionist film sets. Ridley Scott, the director stated in 1996 ’I think you would have to
compare Giger's work on Alien to the great German expressionistic films of the early part
of this century, such as The Cabinet of Doctor Caligari (Robert Wiene, 1920) and
Nosferatu (F.W. Murnau, 1922)’. Giger was Swiss and his dark visions were exactly what
Scott was looking for. Hitchcock was also influenced by German expressionism. Hitchcock
particularly borrowed spatial and architectural characteristics from German cinema such
as shadows, stairs, mirrors, and dark foreboding landscapes. As in the works by German
expressionism, Hitchcock presented the physical world as a dark, frightening, violent, and
unstable place, which is often a projection of a disturbed person shown through striking set
designs and lighting effects as well as subjective camera shots.’(Jacobs, 2007, p.16). He
had worked as an art director on film sets in Germany at the start of his career and took
the experience he gained with him when he began his career as a director. 1370

16. CHAPTER 4:
Patrick Lowry, other artists and focus group.
There are many set designers, directors and artists who have inspired my approach to set
building. I have documented some of this research and have also documented an
interview with Patrick Lowry from April 2015 (see Appendix 1). As a practicing artist, Lowry
produces three dimensional art installations, that are similar to pieces from a film or stage
set design. I was originally inspired by his installation ‘American Dream’ and wanted to
interview Patrick about his work and how he considered it’s significance in the discourse of
the themes of authenticity, realism, illusion and desire.
Fig. 5 - American Dream, Patrick Lowry, 2013.
American Dream was a life size three dimensional piece Lowry construction showing a
typical 1950’s American house and car which promoted the ideal ethic of the American
dream of that period, ‘conveying the essence or spirit of the time?’ (Barnwell, 2004). Lowry
had challenged himself to create the piece in 3D after referencing an advert depicting the
image in a 2D illustration. The intention was to construct the piece as authentically as
possible, create an illusion of realism and question the theme of desire in regard to
consumerism. ‘The theme of desire is a strong theme that inspires my work and is often a
theme and inspiration behind many artists’ work, Lowry explained, ’Like American cars,
every year they would have a new model, in the 50s and 60s. The underpinnings of the
suspension and the engine being the same, but it just looked different. Just to persuade
people this whole thing about desire and people feeling uncomfortable with something
already out of date, wanting to have the latest model’ (Lowry, 2015, Appendix 1). It is an
emotive reaction to advertising and promotion that could leave the audience feeling they
did not have a strong reason why they desired this upgrade so much. This is similar to the
emotion described by Barnwell, ‘it becomes a trophy at the end of the film’ (Barnwell,
2004), it is the emotional desire to keep hold of the object.
If there are similarities in Lowry’s constructions and the role of a producer, how did he feel
when his work was compared to a set build? He answered that he felt uncomfortable when
asked if it was part of a set. ‘Is that because I try to make my work as realistic as possible,
a lot of people get impressed by the making. They’ll say that’s really clever how did you
that? And that bypasses what my work is about. The intention of American Dream was to
open a line of enquiry, a line of thought around desire and consumerism’. (Lowry, 2015,
Appendix 1). Whilst preparing to interview Patrick, I researched his other works and found
them intriguing, they were mainly 3D construction pieces that were almost all site specific
or site related (in this case installations designed for a specific setting whether it is to be
placed in a setting that is incongruous to their origin). The pieces were created an illusion
that drew the viewer in, the purpose being to make the viewer believe in the pieces and
feel comfortable enough to be around them and use them. They appeared as realistic
objects, even though they were not (most were constructed from MDF). I was interested
also in what happened when the viewer began to question the pieces. Did they feel duped,
or maybe even angry? Was there a loss of confidence in the artist? Or did it stir up further

17. interest, in a form of intrigue? I wanted to ask Patrick, what his inspirations were, why he
chose the objects as installations? What was his purpose? Also, what was the message he
was conveying? Was it his intention to irritate his audience or make them notice the
incongruous placement of pieces rendered useless and therefore pay more attention?
Whilst talking to him it was clear, his inspiration was to take an ordinary object and alter it
in some small way or place it in a new site that made it redundant as a useful object but in
doing so, created a piece of art that challenged conventional thinking. Lowry spoke of the
inspiration behind his initial ideas, ’I might find something physical and think how can I use
that to form a narrative about something I want to say’ (Lowry, 2015, Appendix 1).
I asked, in your opinion what is the definition of authenticity and what is the definition of
realism, when applied to a set build or a piece of art? He referred to his work ‘American
Dream’ - ‘If somebody could have lent me a real Chevrolet Belair I probably wouldn’t have
wanted it, because it does change how, that whole thing of a real object, how you engage
with a real object instead of how you engage with a replica. When we grow up we learn ‘a’
is for apple, so you know what an apple is and once you know what an apple is and you
can label it, you don't have to ask anymore questions about it. In your mind its authentic,
it’s the real thing.’ In a similar sense to Downton Abbey, when the audience have seen the
scenes shot in Highclere castle, the ‘downstairs’ set scenes built at Ealing Studios are then
considered ‘authentic’ and part of the actual house.
Lowry’s art is described as using processes of replication or displacement, he encourages
people to view something differently, highlighting its existence, making them question it
and therefore their relationship with it. I asked Lowry to comment on the fact that some of
his work is site specific and about how the environment affects the viewer. ‘In a way, as I
said, the whole thing about taking something and putting it somewhere else, this meaning
that people have to engage with it in a different way. They have to consider it and it makes
them think about its purpose, it’s authenticity’ (Lowry, 2015, Appendix 1). During the
research of my dissertation and journey of discovery, I uncovered other artists who were
driven by the same interest, who were also recommended by Lowry to research. Whilst
documenting some of these artists and structures that had been created, I found the most
interesting were the sets that challenged the usual but also had a purpose other than
decoration.
In this way, Richard Wilson, a British Installation Artist, transforms and distorts objects,
challenging the ‘usual’. The audience can become immersed in the creations sometimes to
the point of putting themselves in danger. As with the set of Titanic, Wilson creates life-size
structures and pivots them ‘I unsettle or break people’s preconceptions of that
space.’ (Wilson 2015) A second example of his disturbing work was to take a slice of a
ship, keeping the housing section and discarding the remaining 85%. This was then
positioned at the end of a terraced street and entitled, Housing Solution 2003.
Fig. 6 - Turning the Place Over, Richard Wilson, 2008.

18. Again the audience are unnerved at the sight of this structure which is deliberately meant
to disturb the viewer and make them feel vulnerable. The sculptures are similar to the life
size structure of the Titanic which Cameron built to resemble the magnificent ship in all of
its glory and then tilted, pivoted and broke during filming, in order to simulate the final
moments of the inaugural voyage across the Atlantic. There are similarities of intention in
the concept of the work of the artists Patrick Lowry, Richard Wilson to the intention of the
set build of the Titanic.
Cindy Sherman is an American film director and artist who creates sets for the purpose of
taking one photographic still. She captures a moment that could be from a film by creating
the set specifically for the photoshoot. Her sets are designed to accentuate the character,
which is always a self portrait of Cindy herself, in character, but the sets are integral to the
scene itself.
Fig. 7 - Untitled Film Still No.13, Cindy Sherman 1978.
The images enhance Barnwell’s theory that a set or an effective prop can establish a mood
and character within seconds. ‘This is the point at which the designer has to look through
photographic references, or at real buildings, for a hotel corridor with approximately the
same atmosphere, in order to find typical details that will place the set precisely in its
country, its town, and even its district, as well as in the period and, naturally, its
class.’ (Bardacq, 1976, p.165) . Although Cindy’s characters do not have dialogue, there is
a connection that enraptures the audience. In the documentary of Cindy Sherman,
Nobody's Here But Me (Mark Stokes, 1994) (broadcasted on BBC Arena, 24th April 1994),
Cindy states ‘Through a photograph, you can make people believe anything, its not really
the camera’s doing, its really the person behind it and figuring out ways to tell lies in a way,
through the camera. Some people use the camera straight on and document exactly what
they see. But I think its more interesting to show what, perhaps, you might never see, It’s
showing maybe, what’s in somebody’s imagination.’ (Sherman 1994). She talks of wanting
to challenge the audience and how the still must tease with the promise of a story so that
the viewer of it, itches to be told.
The focus group were sent 4 clips to watch from the following TV series’ and Films:
Mad Men, Downton Abbey, Titanic and Alien and asked to complete a survey. The point of
the survey was to try and determine if the set had created an emotive response from the
viewer. This is difficult to measure. I chose to do this with a survey and clips to generate
answers that would help me to analyse responses on the themes of emotion, when seeing
sets that incorporated the themes of authentic, realism, illusion and desire. The survey
was sent online to a cross section of tv and film viewers, male and female and targeted all
age ranges. The survey was also available online to the general public via the survey
website. As the authors of the results were anonymous, I was unable to categorise them
by age, gender, or area. The results therefore were examined as a collective and the

19. summary of averages, were included in my analysis. An alternative to the survey would
have been to create a controlled environment. To have produced two sets and film the
same scene in two differently designed set environments using a period set for example,
60s similar to Mad Men. Set A could have used all the colours, materials, motifs and props,
related to that period. Whilst the other set, Set B, could have lacked the set design, colour
treatment and props that were specific to this era. The issues with this, were that it would
not have been an neutral emotive response from the audience as they would have had to
watch the same scene in both examples, Their emotional response and judgement would
have been affected by both scenes, as no matter which version was shown first, that
emotion would have influenced their interpretation of the other viewing. It would though,
have been an interesting experiment to set up as an example and may have provided
some information I could not have anticipated. The survey results in full are included in
Appendix 2.
1894

20. CONCLUSION
This dissertation looked at two different mediums of moving image, TV and Film and within
them, different applications of production design covering period drama and sci-fi sets.
Examining the research and information documented in this dissertation, I have concluded
that whilst I agree with LoBrutto, ‘Control is the principal advantage of shooting a film in the
studio. What can be accomplished in the production design is limited only by the budget
and skills of the art department.’ (LoBrutto, 2002, p.136), I believe it is It is clear that the
main advantage to building a set is the ability to evoke a mood, to establish a character
and create an emotive connection with the audience.
The themes of authenticity, realism, illusion and desire were explored. With American
Dream, for example, Lowry starts with a space, fills it with attributes and it then becomes a
‘place of community’. As stated earlier, Blommaert observed ’Space can be filled with all
kinds of social, cultural, epistemic, and affective attributes. It then becomes ‘place’, a
particular space on which senses of belonging, property rights, and authority can be
projected.’ (Blommaert, 2005). Lowry then takes it further as the attributes he fills the
space with become the object of desire, instilling an emotional connection with the viewer.
I therefore believe the role of the production designer is a pivotal role in film and tv
productions. Even though almost all sets are built for what could be considered a slim and
transient period of time, my interview and the focus groups have confirmed, there is no
disputing their significance. There is no doubt set builds are costly and fleeting. ‘Expansive
sets, whose construction might have taken months and cost millions, often show up on
screen for mere minutes or even seconds, and the spectator might indeed be distracted by
the plot at this very moment.’ (Neumann and Albrecht, 1996, p.9). My results of my case
study research was that there are similarities in the period pieces Mad Men and Downton
Abbey. Both were time specific rather then actual event specific. It was easier therefore for
the production team to create sets that were authentic and suggest the illusion of realism
as they were not constricted by replicating a specific event. The design of the set and
props should be of the correct period but could be styled to the liking of the director and
producer. In contrast he difficulties and challenges facing the production designer on the
Titanic was that the set had to be realistic. It was imperative for Lamont to create an
environment based on facts, each object had to be specific as the Titanic film depicted a
true experience. There was therefore no creative margin for the design. Finally in contrast
the film Alien had creative license to follow the directors vision and that of HR Giger, as it
was a science fiction movie set in the future and could not be judged.

21. BIBLIOGRAPHY
Barnwell, Jane. Production Design. London: Wallflower, 2004. Print.
Barsacq, Léon. Caligari's Cabinet And Other Grand Illusions. Boston: New York Graphic
Society, 1976. Print.
Bergfelder, Tim, Sue Harris, and Sarah Street. Film Architecture And The Transnational
Imagination. Amsterdam University Press, 2007. Print.
Blommaert, Jan. 'On Hymes: Introduction'. Text & Talk - An Interdisciplinary Journal of
Language, Discourse & Communication Studies 29.3 (2002): 241-243. Web.
Caldwell, John Thornton. Production Culture. Durham, N.C.: Duke University Press, 2008.
Print.
Caldwell, John Thornton. Televisuality. New Brunswick, N.J.: Rutgers University Press,
1995. Print.
Carrick, Edward. Designing For Moving Pictures. London: Studio Publications, 1941. Print.
DeMelo, Robert L. The General Principles Of Reality A. Toronto: R.L. DeMelo, 2007. Print.
Esperdy, Gabrielle. 'From Instruction To Consumption: Architecture And Design In
Hollywood Movies Of The 1930S'. J American Culture 30.2 (2007): 198-211. Web.
Ettedgui, Peter. Production Design & Art Direction. Woburn, MA: Focal Press, 1999. Print.
Goldfarb, Brad. 'The Sets Of The Great Gatsby'. Architectural Digest 2013. Web. 30 May
2015.
Gottlieb, Sidney, and Christopher Brookhouse. Framing Hitchcock. Detroit: Wayne State
University Press, 2002. Print.
Gritten, David. 'Downton Abbey: Behind The Scenes'. The Telegraph 2010. Web. 29 May
2015.
Hansen, Anders, and David Machin. Media And Communication Research Methods. 2013.
Print.
Heisner, Beverly. Hollywood Art. Jefferson, N.C.: McFarland & Co., 1990. Print.
Jacobs, Steven. The Wrong House. Rotterdam: 010 Publishers, 2007. Print.
King, Geoff, and Tanya Krzywinska. Science Fiction Cinema. London: Wallflower, 2000.
Print.
Kuhn, Annette. Alien Zone II. London: Verso, 1999. Print.
Lamster, Mark. Architecture And Film. New York: Princeton Architectural Press, 2000.
Print.
LoBrutto, Vincent. The Filmmaker's Guide To Production Design. New York: Allworth
Press, 2002. Print.
Neumann, Dietrich, and Donald Albrecht. Film Architecture. Munich [u.a.]: Prestel, 1996.
Print.
Olson, Robert L. Art Direction For Film And Video. Boston: Focal Press, 1999. Print.
Prince, Stephen. ': Pretty Pictures: Production Design And The History Film . Charles S.
Tashiro.'. Film Quarterly 52.2 (1998): 54-55. Web.
Ramírez, Juan Antonio. Architecture For The Screen. Jefferson, N.C.: McFarland, 2004.
Print.
SANES, K. 'The Meaning Of The Truman Show'. Transparencynow.com. N.p., 2015. Web.
28 May 2015.

22. Schaeffer, Kaitlyn. 'Wes Anderson Uses Elaborate Set Designs To Add Depth To His
Characters'. Complex 2014. Web. 30 May 2015.
Seitz, Matt Zoller, and Wes Anderson. The Wes Anderson Collection. Print.
Shorter, Georgina. Designing For Screen. Ramsbury: Crowood, 2012. Print.
Singh, Gregory Matthew. Feeling Film. Print.
Tashiro, Charles Shiro. Pretty Pictures. Austin, Tex.: Univ. of Texas Press, 1998. Print.
Vaz, Mark Cotta, and Craig Barron. The Invisible Art. San Francisco: Chronicle Books,
2002. Print.
Verdoux,. 'Kubrick « Verdoux'. Verdoux.wordpress.com. N.p., 2009. Web. 31 May 2015.
Wilson, Richard. 'Richard Wilson'. Richardwilsonsculptor.com. N.p., 2015. Web. 31 May
2015.
Wood, Robin. Hitchcock's Films Revisited. New York: Columbia University Press, 1989.
Print.
Wordsworth, Christopher, and Stephen Fyles. The Movie Maker's Handbook. New York:
Ziff Davis Books, 1979. Print.

23. FILMOGRAPHY
Alien, 1979, [Film] Directed by Ridley Scott. USA: 20th Century Fox
Downton Abbey, 2010 - ,[TV] Created by Julian Fellowes. UK: NBC Universal Television
Distribution, WGBH Boston.
Mad Men, 2007-2015, [TV] Created by Matthew Weiner. USA: Silvercup Studios,
Lionsgate Television, AMC Studios.
Metropolis, 1927, [Film] Directed by Fritz Lang, Germany, Weimar Republic: UFA,
Paramount Pictures.
Nobody’s Here But Me, 1994, [Film] Directed by Mark Stokes. UK: Cinécontact, BBC
Television, Arts Council of England.
Nosferatu, 1922, [Film] Directed by F.W. Murnau. Weimar Republic: Film Arts Guild.
The Cabinet of Dr. Caligari, 1920, [Film] Directed by Robert Wiene. Weimar Republic:
Decia-Bioscop.
The Shining, 1980, [Film], Directed by Stanley Kubrick. USA: Warner Bros.
Titanic, 1997, [Film], Directed by James Cameron. USA: 20th Century Fox.
FIGURES
Fig. 1 - Mad Men, Don Draper’s office. 15
Fig. 2 - Downton Abbey, kitchen downstairs behind the scenes. 17
Fig. 3 - Titanic, ship set behind the scenes. 21
Fig. 4 - Alien, discovery of the alien mothership. 24
Fig. 5 - American Dream, Patrick Lowry, 2013. 26
Fig. 6 - Turning the Place Over, Richard Wilson, 2008. 30
Fig. 7 - Untitled Film Still No.13, Cindy Sherman 1978. 31

24. APPENDIX 1
PATRICK LOWRY INTERVIEW April 2015
P. I would like to see your work so show me some images of your work as you have seen mine
(from lecture at Woodlane campus).
O. DESIRED was in response to a piece of work for a module on TV set design - it was to wrote
3000 words or do 1000 words and a build a set. SHOWS pictures of the set to Patrick.
O. I was interested in how the first 2 minutes can set the tone for the whole film and setting
P. Yes, it encapsulates the mood, sets the scene.
P. In Penzance there was a walk where a theatre group called Scary Little Girls American create
scenarios. You bought tickets and then you were given a map. You would walk through a park and
at certain points, you would be confronted by somebody doing something. Somebody, carrying
shopping bags and as they walk by, talking on a mobile phone really loudly and you heard her
conversation with her lover and about them falling out. And it was taken from a poem I think or it
was taken from a book. So as you were walking through Penzance and then confronted by these
encounters, although it wasn't that obvious that they were performances. It coincided with
American Dream and so they asked me if they could borrow American Dream for one of their
performances. like situation.
P. So this new film (Troubled), is this a period piece?
O. No it’s timeless American cinema with English
P. Harrison and Wood performance artists slap stick 10 by 10 they set up a room in studio in
Bristol appeared to be an office, Bland lighting 100 diff scenarios shot take after take then stripped
together. Felt like you were going down a tower block as each was panning across the scene.
http://www.westdenhaag.com/films/Harrison_and_Wood_10x10
HARRISON AND WOOD
10 X 10, 2011 (EXCERPT 1:55 MIN)
15:37 MIN
P. Use your ingenuity, its amazing how you can do things cheaply.
O. Lighting can make it look very different, for example, there, shining through the window, like a
car is passing by.
P. The other day I was talking to the fine art students and saying, just ask and you just have to give
it a go, the world is a lot friendlier than you think.
20.40
O. What inspires you, what do you necessarily use?

25. P. I suppose what I do notice about myself is that I invariably have my best ideas when I am away
from home base when I’m in unfamiliar territory or territory that is outside my normal routine. And it
can be something as simple as, what were looking at there..that coffee machine, the chandelier
and that weird wallpaper. Its quite an odd.
Now I’ve now noticed it, we may be talking about a theme. If you frame that, its a strange coffee
machine, its a strange combination.
O. Strange wallpaper.
P. Yes and if you took a shot of that, it could be anywhere in the world apart from seeing whats
written on the board. You know, you wouldn’t say that’s typically Falmouth. So its quite often, I can
be sitting in this scenario where I’m having a coffee and just watching the world go by. It probably
happens more in urban environments. And something will trigger some idea, it can be something
on the news, it can be something I’m reading, it can be an image. I always want my work to be
talking about something, quite a lot of my comments were about economic situation
P. They feel Ok there just getting on with it when in actual fact its a form of avoidance.
23.00
A lot of that work happened around the collapse of banks in the States, when it really did go tits up.
It felt
P. In actual fact, my first degree was in product design wasn’t in fine art. Mainly as I was interested
in doing models. Completely the wrong reason for doing this degree.
24.00
P. Most of what I was doing was making new plastic boxes to go round old, last years technology. A
bit like American cars, every year they would have a new model, in the 50s and 60s, every year.
The underpinnings of the suspension, the engine being the same but it just looked different. Just to
persuade people this whole thing about Desire and people feeling uncomfortable with something
already out of date wanting to have the latest model’. I found myself uncomfortable with that aspect
of industry and eventually I gave it up. I didn’t really fit into it anyway, all the meetings, the
boardroom. I enjoyed the fun of coming up with new ideas but I didn’t really enjoy was what it was
really about so I’ve always had that concern about consumer society, how we can’t live without it,
how we are trapped in it. I felt I needed some parameters. I think how can I use that to form a
narrative
25.00
The American Dream was a dichotomy, I would have loved a house like that and now I would have
liked a car like that although I wasn’t really excited at the time but doing the research I was thinking
I could see myself cruising around in one of those. So there’s nothing wrong with the desire, but I
do have problems with the way our society the model desire and exploitation that goes with that.
So a lot of my work revisits that . At the same time I am very interested in the physicality of the
world we live in. I might find something physical and think how can I use that to form a narrative
about something I want to say.

26. You say you don't look at that many films, I don’t look at that many 3D artists but theres a couple of
people like the installation artist Richard Wilson, who I find interesting.
Also Richard Wentworth. I am quite interested in photographers and painters. I quite like Hopper, a
lot of filmmakers have referenced Hopper in their films I can see similarities with some of your work
there (referencing photographs of DESIRED SET). Women sitting on beds Interesting narrates in
their paintings more often painters or photographers I find more interesting than artists working in
3D.
28.00
O. Packaging can change on a product but not the product but we need to have it because it is
new.
P. We live in a confused society where we cannot sometimes separate what is new, what is desire
which I think is ok but in our business we need to be aware of all that. If we cant be aware then its
a bit of a problem because its the language that we are using.
O. Have you been to the Design Centre at uni? P. Not recently O. Its quite nice
P. I’ve got over that patch and I’m now
O. I want to change my path all the time. P. How old are you? O. 20
P. You seem older, you have done quite a lot so far.
O. When I had to present this idea, I want to write it for you to read the quote that inspired me…
35.00
Clementine’s quote
I need to see this becoming real, I asked her if I could use this in my film. I sent her pictures of the
actress and she said that’s great.
P. That whole thing about attraction. So you are having a dialogue about the film. So how much of
a film is that
O. It’s about K J and S. Its about K saying I can talk to a guy. I can do this. One of those moments.
She says that then we have a flash forward.
La Haine body double.
P. I like the physicality of old movies, without the use of CGI. Recognising the glitch is interesting.
Film stock is getting difficult to get hold of. There is a re emergance of analogue film makers.
O. DESIRED cannot be entered into any festivals. The film cannot be entered into festivals
We had to zoom out track backwards and pull focus.

27. P. Artist who makes incredible film sets then takes only one photograph on a plate camera from the
sets. Sometimes he uses film lights, spends as much on one shot as on a building a film set. There
are a lot of people on the course so it must be difficult to get equipment with so many students.
O. Not everyone is chasing the same role, e.g. Director, schools portfolio can be cinematographer
who would need to make two submissions. An architect, 3 fashion photography students helping
on lighting. It is a team project. I want to use an illustrator.
After graduating I would like to move somewhere else maybe California. They're really happy all
the time.
P. People are living on the surface in LA.
O. They are really obvious, their humour. I have been seeing photos of seeing V drive across
America in early eighties. Interesting images. Inherent Vice has interesting clothes.
P. DESIRED is a bit mixed up Thats what the real world is like, we all have things from different
times, a collection of things.
O. When you go to a hotel room they haven’t really caught up. Desired pics are.
P. Also very Cindy Sherman. The pictures are all very good, shot by a photography student. Seems
like you are learning quite a lot.
O. Start building the bet for TROUBLED next week.
1.03.00
P. Building sets in cities is a problem. Getting hold of materials if you don’t have a car because you
are in a city is very difficult. In London and also Lyon I had this problem. You need to get to
industrial areas. In Lyon I replicated the stairs going up to the Tate. The gallery found the material
but it had been used before so there were nails in it holes in the wood. I thought I would be able to,
it took me ages. It can be time consuming trying to prepare the material. I would like to see an mdf
boat Pendennis. To say you are a student you can ask the most ridiculous questions and get away
with it.
1:09:00
Authenticity definition?
Realism definition?
P. Do they know what they’re asking.
O. Would you consider your work a set build?
P. I felt uncomfortable when I was asked if it was part of a set, not sure why. That was before
American Dream, and I felt that association- there is something there. What it is is that because I
try to make my work as closely as possible as realistic as possible, a lot of people get impressed
by the making, they’ll say that’s really clever how did you that? And that bypasses what my work is
about. The intention of American Dream was to open a line of enquiry, a line of thought around
desire and consumerism so if somebody talks about how clever I mad the American car,that’s not

28. what I wanted to have a conversation about and equally therefore, somebody saying its like a film
set, isn't necessarily the conversation I want to be having.
Although having said that, that was not a bad analogy as a lot of American Dream was about
fantasy. There is a real big overlap with the pretence of a film set and the pretence of that kind of
dream. So I wasn’t that uncomfortable with that kind of Analogy for American Dream but other
pieces of work
P. Art The intention will change depending on the work. The intention of the work is…? Like the guy
who spends a huge amount of money for just one shot. The intention of what someone is trying to
do.
P. The lift doors piece, I remember there was a person who worked on the set of Casualty, he
asked me about that piece as he had worked opening the lift doors on set. But that made me
uncomfortable as that piece of work was about consumer society and shopping malls.
O. Can you define reality? Define Authenticity and Realism.
O. Is it Authentic? Part of Downton Abbey is filmed on set and part in the house.
P. Does define Authentic mean how close is it to that period or that situation was in its real time and
the really of that is its difficult to know.
P. I am working on a piece in a landscaped garden that when they were build, the owners did not
allow the servants to look out onto the gardens as it was for the arostocracy, not for the servants to
look at this vista. How would you build that bit of the scenario into that part of that time, relationship
of that piece, period?
O. How about within the context of American Dream? It’s made to look authentic, it looks real in the
photograph.
1:24;00
P. The girl did come out the door which was the offices, the access was through the front door of
American Dream. Even though it did look real in the photographs, yes, if you were there you knew
it was not real. I used pretend grass, plastic. It was different from other pieces of work.
They were lumber companies (like IKEA houses) but the illustrations were very particular - the
house represented a dream you could buy into, the illustrations, catalogues were from a lumber
company
slightly surreal quality as you were buying into the dream, the illusion. The actual things were just
an illusion made from big sheets of plywood. The stonework was polystyrene I only went so far
with that illusion. It was as close to the illustration as it was to stonework.

29. It was hovering between reality and illusion I wanted it to sit in that space Your stuff sits between
two spaces like film it sits between
O. The heist room, the corridor to the hotel the wall the camera tracks down the wall the fourth
wall. That is a ploy used quite often in films, you cut across from one room to another panning
across the wall, seeing all the wires and everything. Could darken it or see everything, depends on
how realistic you want to be.
P. Again it comes back to intent. What is your intention here. Like writers, some (historic novels)
will spend ages researching to get their characters exactly right, the period e.g. servants can’t look
out the window. There has been a series about Cromwell, you sense that the sets, beautifully
photographed, they are very rich sets; I was watching it thinking how real how accurate is this, as
there are a lot of things put in front of us, there are things that draw you in as if it is authentic. But
in actual fact once you start reading about it you realise, ‘No that didn’t happen, somebody has just
made that up’. It made a good story but was not authentic. Then the set, how close are they? Or is
that they wanted to produce rich sets and beautiful images, so authenticity.
O. Rain, about Mary Queen of Scots. Supposed to be accurate, accents are not right so maybe it is
for an American audience.
P. Poldark for example is a quite a good programme. The accents are not all great and it breaks
down bit if you know the region well. They must have spent quite a lot of money on the sets. The
house (Poldarks' house) is an actual house on Bodmin Moor but they’ve had to CGI the sea in
behind
1:25:00
O. In your opinion what is the definition of authenticity and what is the definition of realism, when
applied to a set build or a piece of art?
P. If somebody could have lent me a real Chevrolet Belair I probably wouldn’t have wanted it,
because it does change how, that whole thing of a real object, how you engage with a real object
instead of how you engage with a replica. When we grow up we learn ‘a’ is for apple, so you know
what an apple is and once you know what an apple is and you can label it, you don't have to ask
anymore questions about it. In your mind its authentic, it’s the real thing.’
O. I asked Lowry to comment on the fact that some of his work is site specific and about how the
environment affects the viewer. Did they feel duped, or maybe even angry? Was there a loss of
confidence in the artist or did it stir up further interest, in a form of intrigue?
O. What are your inspirations?
P. Quite often, I can be sitting in this scenario where I’m having a coffee and just watching the
world go by. It probably happens more in urban environments. And something will trigger some
idea, it can be something on the news, it can be something I’m reading, it can be an image.
O. Why do you choose the objects as installations?

30. P. Its quite often something mundane. Like the lift door was something that put somewhere else,
could actually activate another line of thought.
O. What is your purpose and the message you are conveying?
I always want my work to be talking about something, quite a lot of my comments were about an
economic situation.
O. Was it your intention to irritate your audience or make them notice the incongruous placement
of pieces rendered useless and therefore pay more attention?
P. In a way, as I said, the whole thing about taking something and putting it somewhere else, this
meaning that people have to engage with it in a different way. They have to consider it and it
makes them think about its purpose, it’s authenticity.

31. APPENDIX 2
CROSS SECTION OF RESULTS FROM SURVEY ON FOCUS GROUP
Q1: On a scale from 1-5 how does the clip make you feel?A: Relaxed, Entertained, Engaged,
Disinterested
Mad Men - entertained and engaged
Downton Abbey - relaxed
Titanic - entertained and engaged
Alien - engaged
Q2: In each of the examples, which is the most important aspect of the show?A: Storyline &
Characters, Set Design, Acting, Sound & Music, Editing & Post Production
Mad Men - storyline and characters
Downton Abbey - storyline and character, set design
Titanic - set design, storyline and character
Alien - set design, editing and post production
Q3: What was it about Mad Men that made you feel the story was based in the 60s?
Costume, Music and set design
Props, set, clothes. Inclusion of alcohol, cigarettes and clutter of pencils, paper. No computers.
set and costume
Q4: What is it about Downton Abbey sets that made you notice the difference in class?
Costume, dialogue (acting) and set design
costumes
The servants quarters are dark, cramped and busy with low ceilings to accentuate the lack of
ability to breathe, much like a prison. This is in contrast to the vast, spacious and light, upstairs
stately home of the upperclass family. The rooms upstairs have high ceilings and light which
makes you feel they have an opportunity to come and go as they please.
Q5: Do you think the film Titanic was predominantly CGI or set build?

32. set build
set built
Titanic feels more set build than CGI. The characters are part of the set, they are part of a real
experience. This is important as the story is about the experience of being on that ship, the first
class grandeur and the contrasting horror when it breaks up and sinks.
Q6: In the Alien clip, how did the set contribute to the overall suspense?
it was more the character and storyline, wasn't concentrated on the set
The set was integral to the film. At the beginning it created the 'world' that the creature inhabited
and the suspense whilst the crew discovered it.
Very important, sci fi it's vital
Q7: Did you notice the set in…Mad Men? Downton Abbey? Titanic? Alien?
Mad Men
Yes very important to placing it within the era
yes, due to the backgrounds in the window
Yes, it was very stylised and full of props from the period of the sixties, cigarettes, alcohol, clutter
Downton Abbey
Huge difference between upstairs and downstairs, look and feel, colours on interiors, lighting
contrast in available space
sometimes
Yes key to the story, but less noticeable because it's so engrained into the story
Titanic
So important it's beautiful and really captures the raw difference between the two classes
The set was the ship which was integral to the story. It was decorative and vast and I felt I was part
of the voyage experience because of it.
when they are in the rooms yes
Alien
The Alien set is integral to the film and without it I don't think the film would have been so scary. It
is really intimidating and makes me feel that way when I watch the film
Very important it's dark and relevant to the scene it's setting
yeah but purely cause i thought it was all a set build