Hi Antonello thanks for taking the time to talk to us.

Could you tell us a bit about your training and the path you have taken to arrive where you are, career wise, today. You began your professional life in Art and Architecture, was there a ‘golden’ moment when you decided to enter the film industry?

Well, actually I started loving movies when I was a child, 5 years old, collecting pieces of film cut out from film copies inside the projection room of a theater, owned by a friend of my father...... ! Seriously speaking, a little bit older, I had the chance to be involved in a movie from a friend, a producer, who asked me to go and replace, for a week, an Art Director in a movie ........... the week become almost a year in Asia, involved in a big project, and there I definitely felt in love with this amazing job!

Which country are you based in now and does it really make a difference for finding work?

Actually I`m jumping between Italy and Bulgaria, a friendly country production wise, target of a lot of good projects; great crews here and money wise still really convenient;

How long before a film reaches principal photography are your services engaged?

Well, this of course changes from project to project; a realistic range of time is between 4 and 16 week before, depending how big or difficult the film is going to be, and of course from the budget as well;

When you receive the first script do you immediately visualize the design style?

Ok, that I think it`s something in the middle between a Gift and a kind of “professional distortion” of your mind; usually while I`m reading a script it`s just like being in a film theater “watching a movie”. Honestly it never happens to me to change totally my concept idea of the design of a movie from the first reading to the set construction. But please, don`t say a word to my producers, or they`ll cut out my prep time for the next film!

What influence can and do you bring to bear on the director/producer after you have read the script?

Well, usually quite enough. And it`s right, I suppose, because you`re called to be part of a creative process, pouring your experience and ideas in what would be the final result of the film.

All production designers are usually limited by budget constraints, have you any ‘tricks of the trade’ that you use to achieve a desired effect without costing a lot of money?

Sometimes people forget that a set, studio or backlot whatever, is composed mainly not of wood, metal or plaster, but “empty space”. Empty space costs zero, but if used in the right way could be a very cheap “added value” to any set. Again, the most powerful weapon of a Designer are IDEAS, and with a good idea, if a few elements are surrounding the right quantity of empty space, in the right way, you will do something great!

Part of your career was in costume design. Do you use that knowledge when you consult with the production costume designers re colour schemes etc?

Absolutely true. Actually even before my first film as Costume Designer, I always spent a lot of time with the Costume Designer talking about colors, suggesting or taking suggestions from them; sometimes a good costume has to be “surrounded” with the right colors, other times after deciding the colors of the sets you`re suggesting something to the Costume Designer. But the key connection for a Designer is always the DOP. Our universe, the universe that we are creating for any film, exist just thanks to the light, actually is composed and impressed on film or other media, just because of the light. So, never forget that when you are sketching something, your concept, your ideas are including light. So, my suggestion is to use as many practical lights as you can on your set, according to the DOP, to keep the original idea as much as you can till the final result on film!

The secret of great design is such that it blends in to the overall scheme of the film, and you are obviously an expert at getting that aspect right but has there ever been a moment when it has all gone seriously funnily wrong?

Definitely I`m a lucky man! Never till now!!!

What advise would you give to an aspiring Production Designer – Where should they start?

The first and most important suggestion is the easiest one: never stop watching movies!!!! Could you believe or not, but the 80% of people involved in our business ignore almost everything about film History. You should start with classic, B/W old movies, till the last blockbuster. The best teacher for any good Designer is the knowledge of past and present of our industry. And I`m talking of movies coming from all around the world!

Would you recommend Production Design as a worth while career?

The first reason to be a Designer is passion, and to be a very good one is a crazy passion! To be ready to meet and enjoy all sacrifice needed by our profession, you must be really addicted to this job! So, if you`re looking for an easy life, forget it, but if your passion is really coming out from yourself, well this is the most beautiful job in the world!!!

A silly question- is the lack of ability to draw considered a serious setback?

C`mon........!!!! what about a composer unable to play any instrument????

You list (IMDb) Ken Annakin as a director you worked with. He is a favourite of ours not only because of his films but we rented a flat from him in London some time ago, which he said he bought with his first payment from ‘Those Magnificent Men in their Flying Machines’ Which film did you work with him on?

Actually I had the chance to work with him in my very first film, “Genghis Khan”, in 1992. He was already an aged man, but so strong, so full of energy like a young boy. We spent almost one year between Kirghistan, Uzbekistan, Kazakstan and China, no easy life, but was a great experience working with him and with the Action Unit Director, Antonio Margheriti, a master in the history of italian horror and sci-fi movies, working daily between thousands of horse riders, Katapult, and all kinds of amazing places and locations.

You always seem to be busy what are you working on now (or recently)? And what are you plans for the future, do you have any remaining ambitions?

The last feature I did was a spy story with Val Kilmer, called “Double Identity”, directed by Dennis Dimster Denk, and another just released, “The Hills Run Red”, directed by Dave Parker, is right now in a film festival in Barcelona. Just back from a long scouting between Argentina and Uruguay, for an Italian project.
Probably the next big challenge will be a “Bollywood” blockbuster, to film in India next summer called “Anghad”, directed by Armaan Choopra. A super hero movie with a fantastic script.
Keep you posted.................

Antonello Rubino
Production Designer
IMDb

A Reelshow International Interview 2009