Rick Heinrichs designed two of the greatest films ever made, the Coen Brothers’ Fargo and The Big Lebowski. He also designed two of the mega-budget Pirates of the Carribean films and several Tim Burton films including the awesome Sleepy Hollow for which he won an Academy Award. We caught up with him at the next-generation entertainment studio Fourth Wall, where he’s helping to envision the future of entertainment.
AS: What are you working on right now?
RH: When I finished Dark Shadows and Frankenweenie in London about a year ago I met up with the guys who run Fourth Wall Studios. The future of our industry has always been a big question in my mind. Are we going to continue to be able to be making the big feature films that we’ve been making in the kind of numbers that we’ve been making them in? And there’s the brave new world of distribution over the internet. What are the sort of economies are we going to look at now if indeed we’re going to be producing and designing films that are going to end up on a small computer screen?
As a production designer I love to build sets but when you’re in a structure that doesn’t allow you to build sets what are you doing? We’re using a lot more digital and virtual sets. But it’s life-sucking to work on a greenscreen set. The challenge is how do we make it a useable tool that is actually cool to work with?
AS: When designing films like the Pirates of the Caribbean series do you spend a lot of time on these greenscreen stages or do you go out on location?
RH: For the Pirates movies I was all over the Caribbean and the Bahamas and Hawaii. And I think I saw every bit of Hawaii from a helicopter, every bit of every shore of every island. Which is not a bad thing to do. We’d take boats around islands with the director Gore Verbinski and swim in to shore because it was too rough to dock the boat. And then we’d discover that the beach we’re scouting is called Tiger Shark beach! If we’d swum in a couple hours later there would definitely have been tiger sharks! Or we’d be lead out on goat trails on cliffs where you can fall two-hundred feet to your death. You’re walking through jungles where people get killed all the time from falling coconuts. It was this life-threatening and physically taxing but an incredibly stimulating adventure at the same time. You’re going to these really remote, beautiful places that nobody gets a chance to go to and imagining how you’re going to use it in a movie. It’s really an unusual thing to get to do and I love that aspect of it.
AS: You’ve also worked with the Coen Brothers.
RH: Yes, being able to work with those guys was a wonderful, early career milestone for me. Of all the movies that I’ve done over the years Fargo and The Big Lebowski are two of my favorite movies. And its just one hundred percent those two guys and their ear for dialog and their head for creating characters and