LIFETIME ACHIEVEMENT AWARD WINNER - 2019
Thank you Chuck . To paraphrase an old country song, “this ole lump of coal feels like a diamond tonight.” Thanks to Local 800, especially to Debbie Patton along with set designers Adriana Dardas, Marco Meile and Yvonne Hackel L for my nomination. And to my two children, Elizabeth and John and their late mother Judith Rosenthal Matthews. A special thanks to my wife Diana, for her creative artistry and her patience during my location assignments. A huge tribute to Emmy winner James Spencer Production Designer of Poltergeist, Gremlins, and Lost. He is a genius at filmmaking. Without his guidance, I doubt that I would be here tonight! Thanks, Jim! “Go by Blue!
Set Designing is an exciting profession! Where else do you get the opportunity to design a JapaneseGarden or a walk through Vagina?
Brilliant production designers make us all look good! Robert Boyle, Laurence Bennett, RickCarter, Nelson Coates, Dan Bishop, Chuck Parker, Nina Rusio, Jack De Govia all provided a creative atmosphere beyond just drafting. I am proud of the construction coordinators that build our sets. Especially Michael Muscarella, John Samson, Mark Powell and Mark’s late father Claude Powell.
Many set designers have also inspired me. Most have gone on to become Art Directors. Chris Burian-Moore, Martha Johnston, Ron Yates, Dawn Snyder, Laurie Campbell, Tim Beach, Lauren Politzi, Glenn Williams – thank you
My physician friend in Tulsa, Dr Eugene Ichinose, asked me to name three outstanding events that have lead up to this reward:
First, The late producer William Putch signed a bank note to pay for my first year at Carnegie Institute of Technology, now Carnegie-Mellon. This was the beginning of a great adventure into designing for theatre, TV and Film.
Second, after seeing the film Il Postino, I discovered the poetry of Pablo Neruda In turn this interested me in visiting Chile and eventually inspiring art during my “in-betweens” as a set designer.
Third, Working for the ProductionDesigner Carlos Barbosa and Art DirectorAdam Davis on Netflix’s “Godless.” Carlos reinforced my belief in good research and the rediscovery of what the late Clifford Yates in the MGM drafting room christened “the chocolate stick,” this Berol 301 pencil. And above all the importance of inspiring guidance as we set designers interpret the Production Designer’s visions into working sets that the actors and the director can bring to life.
Finally, I’ve seen the credits, particularly in Europe and films, Draftsman. In our Union Local 800 here in the City of Angels, we contribute to the production design, WE are SetDesigners!!!
Thank you.