From studying Theatre Design at Nottingham Trent University back in 2001 to working on the Oscar-winning masterpiece that is The Grand Budapest Hotel in 2014, Steve Summersgill has had one hell of a career so far - and with his upcoming work including a DC movie and Emily Brontë’s life story, it doesn’t look like slowing down soon. We chat to the multi-talented Art Director about his time in Nottingham, working with Wes Anderson, and how an unplanned trip to Prague opened the door to Hollywood…
You moved to Nottingham in the late nineties - what made you want to study here, and how did you find your time at NTU?
Primarily, it was how the course was structured and the facilities NTU offered. The Waverley Building had just been renovated so we were the first wave of students to experience the space, which was just great. The teachers at the time had a huge wealth of knowledge and were all plugged in to what was happening in theatres up and down the country. The placement year was hugely important and NTU had a good reputation for getting students connected with practising technicians and industry professionals.
And how did you find Nottingham itself? What were some of your favourite Notts spots?
I have really good memories from my time in Nottingham. Because of where it geographically sits in the UK, you have a really varied demographic of students, which is obviously great. It also felt diverse and progressive. Looking back we probably spent too much time partying… The Bomb back then was a choice favourite for sure - as was any bar, really!
You studied Theatre Design and then made the switch to the screen industry - why did you decide to take that step?
After we all graduated in the summer of 2001, myself and some mates decided to kick back and take a trip around Europe. We heard they were making a film at the studios over in Prague, so we decided to hustle our way inside and went cold-calling.
It was never really intentional, but somehow I managed to get a job on a US production as a Junior Set Designer. I think, at the time, it was more about being able to earn some extra cash so I could continue exploring Europe, rather than focusing on what was this amazing opportunity. I quickly realised I wanted to work in film and, looking back, I was just mesmerised by the sets that we saw and knew that was exactly what I wanted to do with my life.
When you get the opportunity to support hugely creative directors it is fascinating and a privilege to be privy to their process
What does the role of Art Director involve?
The vision comes from the Production Designer, who is responsible for the ‘look’ of a film. Depending on the size of the production, an Art Director is usually in charge of developing, drawing and managing the set builds and locations under the Production Designer’s guidance and supervision.
Art Directors are usually technically-minded in that they are required to be able to draw either by hand or digitally, and also have a good understanding of construction. We work within the art department and normally you have a Supervising Art Director, who is more senior, and an Assistant Art Director, who is more junior.
You’ve performed the role on one of the most beautiful films of all time in The Grand Budapest Hotel. What was it like to work on that with Wes Anderson, and do you enjoy working with such meticulous and detailed directors?
When you get the opportunity to support hugely creative directors it is fascinating and a privilege to be privy to their process. I think everyone involved knew The Grand Budapest Hotel was going to be something special. Most directors know what they want or don't want, so once you have figured this out things start to move along.
As a designer I am very detail-orientated, regardless of whether it’s a period piece or contemporary. The research process at the beginning of a project is so important as it often influences how you start to build up a rich textural landscape on screen. Some directors respond well to visual references and conceptual art can sometimes help aid or influence creative decisions.
Every project is very different, as is every director, so all the requirements and moving parts of the visual landscape vary from job-to-job
Your filmography ranges from giant blockbusters like Aladdin to more intimate, arthouse films like A Hidden Life - is there any difference between these in terms of your work?
Every project is very different, as is every director, so all the requirements and moving parts of the visual landscape vary from job-to-job. Aladdin was a huge Disney film which had a very colourful and vibrant aesthetic - it was really like building an entire city - whereas A Hidden Life was more location-based, and was filmed close to the Dolomites. They were polar opposites, but equally had their own challenges.
Your upcoming project is Emily. Can you tell us anything about that; what your role is on the film and how it's going?
Emily is coming out later this year and is a reimagining of what inspired Emily Brontë to write Wuthering Heights, which we filmed up in Yorkshire. It's not really a facsimile, more an interpretation of her life. I got to jump into the 1800s, which I absolutely loved, and we had a great time bringing this world to life. Earlier this year I also went out to Belgrade where we were filming a project called Fair Play, which is a thriller that takes place in a cut-throat firm in New York. Keep an eye out for that one!
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