This whole thing was based on Sam’s grandfather’s stories, and we always kind of said, “Granddad’s watching over us today.”Get our latest storiesin the feed of your favorite networksWe want to hear from you!

But it’s my fifth film with Sam, and my ninth with Roger [Deakins, cinematographer], and we have a particular kind of shorthand of cutting to solving the problem.

Enjoy!I can’t remember how it got to the table but it got there anyway, which is the way I think about everything. We found the original location [for the Spectre meeting] that we modelled everything on and it was probably one of the most powerful places that I had been, in terms of architectural history.
After graduating from this school, he began to focus on his career in the film industry.

Every step you took meant there was another challenge to face. Luckily, I found Sölden and the restaurant at the top of the ski lift, so that became the foundation for what we needed. It’s a collective inertia! The problems were infinite, and daunting in every way, but we did it.

The village was the end of that sequence and you have got to go on a full journey within the country.We just used an element of City Hall.

We needed to have something that provided another view across the river from MI6 that was less fortress-like. On 1917, production designer Dennis Gassner faced the monumental challenge of crafting epic World War I sets for a film that would appear as one take. Dennis Gassner was one of the Production Designers on SPECTRE and with the release just around the corner we have a nice interview to share with you. Based on stories told to director Sam Mendes b… Luckily, we were in England, and England generally has an overcast environment, but there were still times that we had to wait for the clouds, wait for non-sunlight. Send us a tip using our annonymous form.Copyright © 2020 Penske Business Media, LLC. All Rights reserved.

I am passionate about it, of course. He is an adventurer. Comprised of a handful of long takes stitched together to look like one, Even with extensive rehearsals and a thorough pre-production process, Gassner says the shoot was a race against time, much like the one that Schofield and Blake themselves experience. So the contrast of that was strong, the opposing images from across the river were strong, and they told the story of all the characters. It was a great collaboration.I don’t think Bond has ever been settled. There was a sense of scale that was massive and Rome really has a sense of that power. All that work of planning and stitching together allows us to then say, “Here’s our plan.

They are the experts and you always want to go to the experts. Dennis Gassner (born October 22, 1948) is a Canadian production designer. Sam read the script and walked, and started to run, and so it became simply that: How do you measure that time?

I don’t think we ever want to see him comfortable, at least not now. “[It’s] amazing that you actually get to see a film that is made like this,” the production designer says, “and I think nobody will ever get to do something like this again.”Below, the seven-time Oscar nominee outlines his approach to the war epic, discussing all the challenges that were overcome, to realize one of the year’s most remarkable films.What we ultimately had to do was plan it inch by inch. Obviously, we had to do the right thing and we did.Everything comes out of research through documentation and through videos we’ve watched, so really it came from the Mexicans themselves once we’d decided to collaborate and do the big adventure with them. It was little bit of an ice jewel in the middle of the movie and for Bond it is the beginning of the journey in some way.Austria is a very varied thing.


Dennis Gassner was born on October 22, 1948, in Vancouver, British Columbia, Canada. Then, you take all these elements and start to piece them together in drawings and models, and all of these things start to come together eventually. We had been talking about so many different festivals that it just seemed to be the right thing. He is always going to be on the move and this is just a place to put the few things that he has. We had to do our work and then see if they could actually produce it, and they did. We were trying to find something hot and then something cold.

We drew everything in a plan, and then the physical nature of the movement was done physically, and then we built it and shot it. It was simply that.I’m saying that flippantly, because it was not easy to do. We made a proposal and said, ‘Can you actually do this, considering the scale and the quantity that we want?’ That was our exercise.