We spoke w/ Rick Carter about the production design of thefabelmans and recreating Steve Speilberg's childhood.
From three-time Academy Award-winning director Steven Spielberg, The Fabelmans explores the filmmaker’s own adolescence through the eyes of the fictional Sammy Fabelman. From the moment Sammy is first star-struck by the silver screen, through his family’s most difficult years, we experience a young director’s journey to crafting some of the greatest films of all time.
RICK CARTER: Probably the easiest way is just to back up on a bit from that. I worked with him on The Goonies when I was an art director. He was the second unit director. I got assigned to help him on his second unit. That's how I got to know him, which was, of course, great to have that be what my assignment was. Then that led to the Amazing Stories, and that was two years. We had worked together on a couple of his episodes, plus he was involved in almost all the other episodes.
They didn't beat me up. When I say that, it's because anything you do in a movie, especially in the aesthetics, with cinematography, or editing, or scoring, anything, you're not going to be good for all people, whatever you come up with. You're going to make mistakes, as you're a young person. You're going to make mistakes as an old person, too, but as a young person, you're susceptible to feeling like, "Oh, I can't really do this. I'm not good enough.
Particularly anchoring it with Phoenix, we were able to get a sense of what that part of the journey was and make each one of the houses reflective of, in a sense a three-act structure, for the development of his life and his career. We were always looking to try to make it into the Fabel version, as well, because it's a movie. It's not literal. It's a movie that has movies within the movie.
Another one I really wanted to ask; I know this one probably wasn't as personal a set design for Spielberg – I know it's a personal scene – is the John Ford scene. What was your basis for that? If you just had access to photos of his old office or things like that? Just had to ask. What John Ford is basically saying to him is, ‘You use that drama, but you use it in a graphic way that is not indulgent. It's: what are you giving to the audience?’ He's basically saying, ‘Here's a specific example. You see these pictures I'm surrounding myself with. They remind me that if the horizon's at the top, it's interesting. If it's the bottom, it's interesting.
CARTER: Absolutely. The other movies on the detail level are very important. It's always important what the detail looks like, but it doesn't necessarily have the same personal resonance that if you have something that's presented to you, if you're the director, and you're supposed to put it in your movie, and it doesn't ring true, and you don't know necessarily what it should be, but that doesn't ring true, that becomes more emotionally jarring.
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