Guy Hendrix Dyas

Guy Hendrix Dyas

AS: David Warren worked with Terry Gilliam on the Imagination of Dr. Parnassus and said Gilliam was very hands-on and provided a lot of visual input- was this also your experience on the Brother’s Grimm?
GHD: Terry’s films are some of my favorite films so I knew that being able to work with him would be an incredible experience, especially since he’s been a designer himself. I still remember the impact of seeing Brazil as a student at the Royal College of Art. It was being shown as part of a special film series called “Grand illusions”, I think it’s the film that first opened my eyes to the art of Production Design. Working with Terry is exactly what you’d imagine, he has endless creative energy, he draws amazingly well and it was fun to be able to exchange sketches with him.

AS: Going from Terry Gilliam’s imagination on the Brother’s Grimm to Elizabethan England in Elizabeth: The Golden Age to Spielberg’s Indiana Jones to Angora to Inception and now to Robopocalypse, is there anything in your work that remains constant or is it a radically different experience every time?
GHD: I think one of the most important goals of a production designer is to satisfying a story and a director’s vision so by definition this means that every film should be a completely new experience. Directors are really the ones guiding the way and our aim is to bring their visions to life. I hope my designs appear as different and varied as the films and stories being told. If there’s a constant it’s perhaps the fact that every film is a learning process and that for designers it’s nice to be able to take those experiences and the things you feel were the most successful onto your next assignment, after a while you start assembling your own personal bag of tricks.

AS: How closely do you work with visual effects?
GHD: I have a background in visual effects, I was trained as a visual effects art director at ILM and one of my first films was Twister. For that reason I feel I have a first hand understanding of the tools as well as huge respect for the craft and artistry that goes into digital effects. As a production designer I find the interaction between our crafts extremely exciting, for every job you have to find the best tool and this is one more amazing tool at our disposal.

AS: Do you tend to always work with the same crew ?
GHD: I like to work with the same crew whenever possible but sometimes schedules and distant locations make that difficult. However what I always strive for in the art department is a great mixture of talents, skills and experience. Generally it works well to have seasoned crew working with younger artists, there’s a nice exchange that happens.

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About the Interviewer

Tom Lisowski is a production designer who has designed swamp mazes shot in China, crumbling cliffs in Utah, future arenas in South Central, dilapidated tenements and twisted laboratories under luxurious mansions... William Anthony is a Los Angeles-based commercial and editorial photographer specializing in portraiture, lifestyle and documentary imagery... Guest photographer Nelson Cragg is an award-winning cinematographer who shoots and directs television, feature films, and commercial projects. Contact ArtStars: