Designers

Thomas Azzari on designing the sets for Gunsmoke and The Wild, Wild West

Thomas Azzari on designing the set for the Seinfeld  episode "The Parking Garage"

Thomas Azzari on designing Seinfeld's New York street and various other sets

Thomas Azzari on the job of set designing for Seinfeld

Thomas Azzari on his advice to aspiring production designers 

George Barris on knowing how his custom cars would look once they were on camera

Geroge Barris on knowing what colors to use for his cars on television and in feature films

George Barris on the craft of car customization

George Barris on the car that best expresses him

George Barris on communicating with his staff when creating cars, and on running his custom car business

George Barris on advice to aspiring custom car designers

Robert Blackman on the fabrics they used for the costumes on Star Trek: The Next Generation

Robert Blackman on the budget constraints of costume designing for Star Trek: The Next Generation

Robert Blackman on the process of designing costumes for Star Trek: The Next Generation  and working with producer Rick Berman

Robert Blackman on where he gets the inspiration for his costumes

Robert Blackman on advice to an aspiring costume designer

Al Borden on some of the "tricks" he used as propmaster for The Colgate Comedy Hour

Al Borden on how being a propmaster has changed over the years

Al Borden on advice to aspiring propmasters

Tom Broecker on the transition from being the assistant costume designer to costume designer at Saturday Night Live, and on the process of learning how to be a boss

Tom Broecker on the costume design team at Saturday Night Live

Tom Broecker on how technological advances have changed the costume design process on Saturday Night Live

Tom Broecker on advice to aspiring costume designers

Janie Bryant on how she researched and designed the costumes on Mad Men and on the attention to detail for the 1960s period series

Janie Bryant on her collaborative work with Mad Men  series creator Matthew Weiner and their philosophy about the design for the costumes on the show

Janie Bryant on how much she knows in advance about Mad Men and how much she has to keep secret about her costumes

Janie Bryant on fabrics that are ill-suited for television and how she works with whites and dyes on Mad Men

Janie Bryant on her role as the costume designer for Mad Men  and the attention to detail on the show

Janie Bryant on her advice to aspiring costume designers

Janie Bryant on her own fashion style and brand

Ed Christie on the process of creating a puppet

Ed Christie on tailoring puppets to the puppeteers that operated them

Ed Christie on what makes a great Muppet design

Roy Christopher on the influence of pop art on the art direction on television in the 1970s

Roy Christopher on how lighting has changed over the years

Roy Christopher on the limitations of production design in the early years

Roy Christopher on the addition of "production designer" as a title in television and what the profession entails

Roy Christopher on the limitations of color shades when he started in the 1960s and 1970s

Roy Christopher on dealing with changing fashions and styles over the years in production design

Roy Christopher on styles in the then-present (2006)

Roy Christopher on his style

Roy Christopher on advice to aspiring production designers

Ane Crabtree on what happens during costume fittings with actors

Ane Crabtree on what makes a good relationship between a costume designer and a director

Ane Crabtree on learning about color from director of photography Alik Sakharov for the pilot of The Sopranos

Ane Crabtree on her early interest in costume and fashion design

Ane Crabtree on the beginnings of her wall of research on Justified -- something that she's continued to do on subsequent projects

Ane Crabtree on her process when she first reads a script, on how she finds creative ideas and how listening to music helps her creatively

Ane Crabtree on how she decompresses after emotionally taxing work -- getting away during filming of The Handmaid's Tale

Ane Crabtree on assembling her team for a show and differences between New York and LA shows

Ane Crabtree on how budgets impact her work, particularly on Pan Am, and on shopping for vintage pieces

Ane Crabtree on the role of a costume designer

Ane Crabtree on the fight for pay equity for costume designers

Ane Crabtree on advice to aspiring costume designers -- which includes advice from Patti Smith, William S. Burroughs, and Rick Rubin

Joe DeTullio on forming his design aesthetic

Joe DeTullio on learning to do production design within a certain budget

Joe DeTullio on overseeing the construction of the sets for Saturday Night Live

Joe DeTullio on the challenge of making the art design as true to the original thing it's based on as possible with time restraints on Saturday Night Live

Joe DeTullio on the great pressures and challenges of the Saturday Night Live art department, and on trying to accommodate all needs and requests from the creative team

Joe DeTullio on what he enjoys about production designing for Saturday Night Live

Joe DeTullio on making sure the sets he designs are safe

Joe DeTullio on the basic tools and material he uses in the craft of production design

Joe DeTullio on monitoring costs of materials and labor in production design for Saturday Night Live

Joe DeTullio on production design being both an art form and a technical craft

Joe DeTullio on building models of the sets he wants to create

Joe DeTullio on not using technology when designing, and drafting by hand

Joe DeTullio on how he has evolved as a designer since he started

Joe DeTullio on his design style

Joe DeTullio on his favorite design period

Joe DeTullio on the importance of teamwork in production design

Joe DeTullio on advice to aspiring television production designers

Louis Dorfsman on his duties as Art Director for CBS and working with Frank Stanton

Louis Dorfsman on his style as Art Director for CBS

Louis Dorfsman on the use of words and pictures in an ad and on placing trade ads in "The New York Times"

Louis Dorfsman on promoting news coverage as Art Director for CBS advertising and on working with Fred Friendly

Louis Dorfsman on his peers in the graphic design community, including Saul Bass, and on what set him apart from his peers

Louis Dorfsman on his advice to aspiring Art Designers

Garvin Eddy on the role and responsibilities of a production designer or art director

Garvin Eddy on the importance of doing research as a production designer

Garvin Eddy on making sets look unique and non-generic

Garvin Eddy on the significance of the production designer in television

Garvin Eddy on the logistics and budgets on production designing for sitcoms in the 1970s

Garvin Eddy on collaborating with the creative team on his production design of a show, using The Cosby Show as an example

Garvin Eddy on the evolution of the title from art director to production designer

Garvin Eddy on dealing with product placement as a production designer

Garvin Eddy on what a producer needs to know about a given production designer, and on their collaboration

Garvin Eddy on the most important developments in the technology or technique of production design

Garvin Eddy on the essential elements that make a production design work

Garvin Eddy on the importance of a production designer understanding what the camera sees, and on the challenge HDTV presented

Garvin Eddy on advice to aspiring production designers

Peter Ellenshaw on his early duties at a studio and learning his painting technique 

Peter Ellenshaw on the craft of matte painting 

Peter Ellenshaw on his style and the tools he used

Peter Ellenshaw on advice to aspiring artists 

Harrison Ellenshaw on his father's style and the way he worked

Harrison Ellenshaw on advice for aspiring visual effects professionals 

Albert Heschong on his style, and on the duties on an art director

Albert Heschong on collaborating with the director as art director, and on where he was while the show was airing

Albert Heschong on the duties of the set decorator

Albert Heschong on the duties of the prop master

Albert Heschong on the process of the set designer

Albert Heschong on art directors working with the crew

Albert Heschong on art directors dealing with the technological limitations of early television

Albert Heschong on art directors working with various locations, including outdoor scenes

Albert Heschong on being involved with creating special effects on shows, and on some memorable effects from The Wild Wild West

Albert Heschong on the challenge of crafting on airplane set, including on Spencer's Pilots

Albert Heschong on art directors location scouting

Albert Heschong on his design style

Albert Heschong on advice to an aspiring art director

Suzuki Ingerslev on her path from physics major at Berkeley, to architect, to production designer

Suzuki Ingerslev on becoming an assistant art director on Days of Our Lives and getting into the union, and on what her role as assistant art director entailed

Suzuki Ingerslev on how designing for film compares to designing for television

Suzuki Ingerslev on how she preps for a job interview and for a script, as a production designer

Suzuki Ingerslev on her research process

Suzuki Ingerslev on when casts typically interact with sets, and on working with other departments as the art director or production designer

Suzuki Ingerslev on how much time she typically has to plan sets and on managing the design process

Suzuki Ingerslev on hidden touches on sets -- Love & Death and True Blood

Suzuki Ingerslev on what makes a good relationship between a production designer and a director

Suzuki Ingerslev on her involvement in choosing between shooting on location for shows versus building sets, as a production designer

Suzuki Ingerslev on how actors' physical appearances impact her work as a production designer, particularly with the actors and spaces on True Blood

Suzuki Ingerslev on what she enjoys most about production design

Suzuki Ingerslev on her signature style and how her architecture background impacts her work

Suzuki Ingerslev on what she does when she's blocked on a design and on the basic tools of a production designer

Suzuki Ingerslev on how special effects have impacted production design

Suzuki Ingerslev on how artificial intelligence may impact production design

Suzuki Ingerslev on working within a budget

Suzuki Ingerslev on how the television industry has changed since she first started in the business

Suzuki Ingerslev on how opportunities have changed since she first started in the business

Suzuki Ingerslev on being a woman in production design

Suzuki Ingerslev on her proudest career achievement and career regrets

Suzuki Ingerslev on advice to an aspiring production designer

Joseph Jennings on working on various features as lead set designer and the duties of a lead set designer

Joseph Jennings on his duties as assistant art director

Joseph Jennings on the functions and responsibilities of an art director

Joseph Jennings on the difference between a production designer and an art director

Joseph Jennings on the duties of a set designer and on the duties of a set decorator

Joseph Jennings on the relationship between the director and the art director 

Joseph Jennings on the mechanics of preparing for a show as an art director

Joseph Jennings on the biggest challenges of preparing for a show as an art director and on doing art direction for science fiction shows including Star Trek

Joseph Jennings on art directors working with sound designers and on working with the director of photography 

Joseph Jennings on safety guidelines and on government codes that had to be followed for art directors

Joseph Jennings on the art director's involvement in location scouting

Joseph Jennings on deciding on shooting on location or shooting in a studio

Joseph Jennings on the differences between doing art direction for features, and on doing art direction for made-for-television movies 

Joseph Jennings on advice to an aspiring art director

Joseph Jennings on his production style

Eugene Lee on why his temperament is well-suited for being a production designer on Saturday Night Live

Eugene Lee on the role of a television production designer

Eugene Lee on his comfort zone for designing

Eugene Lee on whether he prefers designing for one medium over another

Eugene Lee on whether or not his process changes when he designs for different mediums

Eugene Lee on whether or not he has a signature style; on his aesthetic and his love of architectural models; on the book he's written about his work

Eugene Lee on his drawings

Eugene Lee on his mentors and mentoring others

Eugene Lee on advice to aspiring production designers

Eugene Lee on what he would have said to his sons if they had wanted to be production designers and on Saturday Night Live having several generations of families working there

Charles Lisanby on his approach to production design

Charles Lisanby on the differences between an art director and a production designer

John J. Lloyd on the path to becoming an art director 

John J. Lloyd on his typical work-week in early television 

John J. Lloyd on his start as an assistant and becoming Art Director on Alfred Hitchcock Presents

John J. Lloyd on how color television affected art direction 

John J. Lloyd on materials he used as an art director

John J. Lloyd on how he selects color

John J. Lloyd on his production design style

John J. Lloyd>  on advice to aspiring art directors

John J. Lloyd on his association with the Society of Motion Picture & Television Art Directors

Bob Mackie on wanting to be a costume designer

Bob Mackie on the famous curtain-rod dress he made for Carol Burnett in a spoof of "Gone With the Wind" on her show

Bob Mackie on finding inspiration for costume designing on television

Bob Mackie on the craft of costume design for television

Bob Mackie on production design for the Academy Awards

Bob Mackie on his design style

Bob Mackie on advice to aspiring costume designers

Bob Mackie on costume design today

Nolan Miller on how fashions looked on the television screen

Nolan Miller on costuming Diahann Carroll as "Dominique Deveraux" on Dynasty and working with the budget of the show

Nolan Miller on the process of creating an outfit for Dynasty

Nolan Miller on the process of making outfits for Dynasty

Nolan Miller how Dynasty impacted his life and career

Nolan Miller on where his inspiration comes from when designing, and on the tools he uses to draw his designs

Nolan Miller on advice to an aspiring designer

Nolan Miller and Mark Zunino on the process of designing a dress for Sophia Loren or other clients

Nolan Miller on the process of designing a costume for a television show

Nolan Miller on the fabrics that are best suited for costumes for television

Nolan Miller on quick costume changes in the days of live television

Nolan Miller on being on-set during the filming of a show

Nolan Miller on his general philosophy for costuming actors

Nolan Miller on the designers who work under him in his shop

Lyn Paolo on her first job in television, as costume supervisor, on Dallas starting in its second season

Lyn Paolo on the difference between the role of a costume supervisor and a costume designer, and on how this distinction played out during her time on the show Homefront

Lyn Paolo on where she sourced the vintage material for the costumes on Homefront, which was a period show, and on what she bought versus what she designed and created for the show

Lyn Paolo on the challenges of working with vintage material and period costumes, as she experienced working on Homefront, which was set during World War II

Lyn Paolo on her process as a costume designer on a period show such as Homefront or Queen Charlotte, and on her process working with actors

Lyn Paolo on not being able to find any work despite winning two back-to-back Emmys for her work on Homefront because she was typecast as a "period" costume designer

Lyn Paolo on her role as costume designer on ER and the various challenges presented by the scope and style of the show

Lyn Paolo on designing costumes for Emmy Rossum's character "Fiona" on Shameless, and on the writing on the show and the joys and challenges it presented

Lyn Paolo on her work as the costume designer on Scandal with creator Shonda Rhimes, and on how the show was very different from her work designing on The West Wing

Lyn Paolo on her process of consciously reusing clothing as hand-me-downs on Shameless as those characters would necessarily do in real life, and on age-dyers and distressing clothing

Lyn Paolo on what she loves about costume design: "We get to go places and see things that no one else does. We get to create worlds. Every job we do is different. So, there's just no way to be bored in our industry. Every new project brings all these glorious gifts"

Lyn Paolo on the art of costume design and on working on Shameless

Lyn Paolo on her working relationship as a costume designer with producers like John Wells and Shonda Rhimes, and on how a good producer can "protect the integrity" of the writers' words, including how they handle network notes

Lyn Paolo on her process for designing costumes for The West Wing, her research and methodology, on visiting the White House during President Bill Clinton's administration, and on Aaron Sorkin and Thomas Schlamme's input on the show's costumes

Lyn Paolo on dressing the character "Vivien Kent," played by Anna Chlumsky in Inventing Anna, in stark contrast to the wardrobe of the main character, "Anna Delvey"

Lyn Paolo on how the Sunset Boulevard character "Norma Desmond" was the inspiration for the costume worn by Julia Garner as "Anna Delvey" in the a pivotal scene in Inventing Anna

Lyn Paolo on her fellow costume designer Laura Frecon with whom she worked on How to Get Away with Murder and Inventing Anna, and on the importance of bringing up younger talent and advocating for them to move up in the business

Lyn Paolo on costume designing for Inventing Anna, which was based on the life of a real person, and on the challenges of designing a show which had real people with real clothing that had been well-documented on social media

Lyn Paolo on the challenges of "crossboarding" on a show like Little Fires Everywhere, when two episodes of a show are shot simultaneously

Lyn Paolo on the costumes for Little Fires Everywhere, which was set in the 1990s, and on how actor Joshua Jackson wore one of Bradley Whitford's overcoats from The West Wing, which she had also designed costumes for and was shot in the '90s

Lyn Paolo on working as the costume designer on the Shonda Rhimes show How to Get Away with Murder

Lyn Paolo on how she became the costume designer on the Shonda Rhimes show How to Get Away with Murder in Season 3 of the show

Lyn Paolo on her favorite part of being a costume designer: being in the fitting room with the actors

Lyn Paolo on the role of a costume designer: "we create the fabric of the world

Lyn Paolo on her design process once she receives a script, on decorating her workspace with pieces of fabric when she's working on costume designs, and on using pencil and paper over computers in her process

Lyn Paolo on the commercialization of the industry, and on the questions and uncertainty involving intellectual property and ownership over the costume designs involving AI

Lyn Paolo on how the business of television is changing and the struggle to make a living since the runs are much shorter (6-8 episodes) than when she started on series television, on the business being mostly comprised of male designers when she was starting her career, and on her role models in fashion outside of the film/television industry, like Vivienne Westwood

Keith Raywood on the role of an art director

Keith Raywood on ways in which he presents music on television, including the Eagles Hell Freezes Over special on MTV

Keith Raywood on how the production design department works with other departments

Keith Raywood on the tools he uses in his work as a production designer

Keith Raywood on working within a budget

Keith Raywood on considering different shooting formats when planning a production design

Keith Raywood on what has changed about being a production designer since he started, and on the advancing technology

Keith Raywood on what he enjoys about production design

Keith Raywood on his signature style

Keith Raywood on advice to aspiring production designers

Rita Riggs on a typical workday at CBS Television City in the 1950s

Rita Riggs on adjustments that were made for costume designers when television switched to color

Rita Riggs on dealing with costuming guest-stars

Rita Riggs on a typical workweek as a costumer for several shows at once

Rita Riggs on the process of designing costumes for television

Rita Riggs on favorite fabrics and colors she uses when costuming, where she finds her inspiration, and her philosophy of costuming

Rita Riggs on the difference between being credited for costumes and wardrobe

Rita Riggs on advice to aspiring television costume designers

Glenda Rovello on working with Bruce Ryan and on the role of a production designer for variety shows

Glenda Rovello on the design process of working on talk shows versus variety shows

Glenda Rovello on her responsibilities as production designer of Will & Grace, and on how she assembles her team

Glenda Rovello on the craft of production design and what she enjoys about her work

Glenda Rovello on how production design helps an audience understand a character better

Glenda Rovello on how the tools of production design have changed over the years

Glenda Rovello on her design style

Glenda Rovello on how she deals with creative block

Glenda Rovello on working within a budget

Glenda Rovello on how evolving camera technology impacts her work

Glenda Rovello on how production design has changed since she first started

Glenda Rovello on how opportunities have changed since she first started in the industry

Glenda Rovello on her biggest mentors throughout her career

Glenda Rovello on advice to an aspiring production designer

Jan Scott on a typical work day as an art director in the 1950s

Jan Scott on working with other art directors in the '50s

Jan Scott on audience reaction to her work in art direction, and on collaborating

Jan Scott on how technological advancements impacted her career as an art director

Jan Scott on how the advent of video tape impacted her work as an art director

Jan Scott on being the head art director and having people report to her

Jan Scott on being involved with location scouting

Jan Scott on working with cinematographers

Jan Scott on how she selects projects to work on

Jan Scott on how digital technology impacted her work as a production designer

Jan Scott on her involvement with the production designer's union, and with the Television Academy

Jan Scott on the biggest changes in production design that happened during her career, and technological advancements in the field

Jan Scott on her style as a production designer

Jan Scott on the the then-future of production design

Jan Scott on advice to aspiring production designers

John Shaffner on the duties of an art director, set decorator, production designer and prop master

John Shaffner on art direction for television vs. art direction for features

John Shaffner on his day-to-day duties as set designer for Friends 

Gary Smith on his duties as a set designer and on working with Harry Belafonte on "Tonight with Belafonte" on The Revlon Revue

Dick Stiles on advice to an aspiring art director

Dick Stiles on his style as an art director and sculptor and on how he'd like to be remembered

Noel Taylor on fabrics he liked to use for costume designs

Noel Taylor on the challenge of doing costume changes on live television

Noel Taylor on doing research for period costumes

Noel Taylor on his style

Ret Turner on doing wardrobe for live television

Ret Turner on the craft of costume design

Ret Turner on the craft of designing

Ret Turner on what makes him a good costume designer

Ret Turner on working with directors

Ret Turner on his personal design style

Ret Turner on advice to aspiring costume designers; on the role of television on fashion

Jac Venza on re-designing the news set for CBS news

Leo Yoshimura on making the transition from doing production design for theater to doing production design for television, and on finding work early in his career

Leo Yoshimura on his own and Eugene Lee's points of view and style of production design, and on his relationship with Lee

Leo Yoshimura on advice to aspiring production designers

SNL Production Design Team on how the team functions together, and on a typical work week for the team

SNL Production Design Team on their process of collaborating with each other on Saturday Night Live

SNL Production Design Team on their interaction with various other departments on Saturday Night Live

SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air