graphic designer, designer in a different field, designer for a different client, designer working in a field where graphic design is not a standard practice, graphic designer in the movie industry, graphic design in the design world.
That’s where designer is coming from, and that’s where I come from.
Designing for a client, especially a blockbuster blockbuster movie, is very hard work.
It requires a lot of planning, it requires a good amount of planning on the part of the designer, it takes a lot more time than it should.
You have to be able to plan for all those things.
Designers have a very narrow set of skills.
They have very little in terms of creativity, which is what really makes a designer a designer.
The things that they do are very specific to what they’re working on.
And that’s why a lot, many, of the people who are doing the design work in Hollywood are doing it for a very specific client.
The client is very, very specific in their requirements and needs.
And so, in that sense, it’s very hard for designers to be doing that kind of work.
And, frankly, if you’re in a film industry and you’re doing a project like “The Hobbit” and you’ve got a film like “Star Wars: Episode VII,” which is a really great movie, you should have been doing that.
But it was very hard.
So, the question is, what’s the right way to go about it?
Well, I’ve been doing this since the late ’90s.
So I have a pretty good idea of how to do it, but I’m still learning, and I don’t know how to teach it to my clients.
And the only thing I’ve taught them is what they ask for.
And when they ask me, “How do I make a movie like ‘The Hobbit’ like this?”
I tell them that they should start with something like, “You need to be thinking about the visuals,” “How does this look like?”
“How are you going to make it feel like a film?”
So I tell the designers to look at “The Lord of the Rings” as a blueprint for how to make a film.
The design process is, “What’s the story that you want to tell?
What kind of characters are you trying to make?
What type of setting do you want?
How are you coming at it?”
So, I teach them to think about that.
And I think that’s the most important thing.
I mean, the biggest mistake I’ve seen people make when they’re doing “The Dark Knight” is they think, “Well, I’m going to come up with a great movie and they’re going to like it.”
That’s not how I teach it.
I teach clients, I tell clients, “This is the kind of movie that you’re going for.”
And I tell my clients to ask for this, “Is this movie going to resonate with your audience?”
And I’m saying to the designers, “Do it.”
And they should always ask for it.
It should be a one-size-fits-all kind of thing.
The more that you ask for, the more you’ll get out of it.
And then when they come to you and say, “I want this,” you’re like, I’ll take that, you can tell me if it’s what you want, if it’ll work.
But, in terms and times, you have to do a little bit of homework first.
But if you have the right skills, I think you’re very well-positioned for success in the world of design.
And it’s one of the biggest, if not the biggest challenges that designers have when they get into the movie business.
[Applause] The next guest in this show is designer, photographer, designer, film producer, and director.
This is a guest contribution by designer, filmmaker, and producer.
[Music: ‘Hoodie’] And it is by design director, director, and designer, Mike Dorn.
This episode was produced by Kevin K. Anderson and produced by Alana Dorn, with assistance from Kevin K-D, Kevin M, and Kevin L. The show was produced and produced for ABC by ABC Studios.