designing creative spaces

As we all count down the three days left to Day 1 of principal photography on Roxana, I took some time out to e-chat with Rhonda Moscoe, the movie's Production Designer. Production designers and art directors are crucial to a filmmaker because the entire visual look of the film is laid in their hands (and those of the cinematographer). This is probably the busiest week of her schedule, so I was grateful to Rhonda for sending me her thoughts. No stranger to the commercial and independent filmmaking industry, Rhonda has helped to design major Hollywood projects like Marvin's Room, Amistad and Finding Forrester, while still finding time to rack up a Gemini for her work on the Canadian indie Stormy Weather: the Music of Harold Arlen produced by that Canadian wunderco. Rhombus Media. Rhonda worked with Moze on his last film, From Time to Time. Here's what she had to say:

What was the most unique aspect of designing this project and what considerations are unique to a dance project?
I would say creating the look of the 1950's and 1960's through 'Roxana's' eyes. As well the whole idea of designing spaces to incorporate dance choreography. The main consideration is space. Dancers need space as well as good floor surfaces to perform their art. My job is to help bring the vision of the director alive, through design with careful consideration to the choreographer and his dancers. It also helps that I am a lover of the art of dance so each day is only a treat for me.

What, so far, has been the greatest challenge?
One of the greatest challenges so far has been finding locations which help tell the story of who Roxana is. Together with our talented Locations department we are finding a few gems, even in Hamilton. Myself and my talented team, then complete the vision with more detailed design through construction, scenic treatment, set decoration, props, and graphics, to help reveal the characters and tell a story which happens to take place in the 1950's and 1960's.

(This picture that Rhonda sent me is of an old abandoned theatre that the locations team discovered in Hamilton over a Chinese restaurant. It has the markings that are perfect for the Chez Paree opening sequence of the film. Rhonda and her team will have a lot of work to do to transform it into the burlesque house, but as Moze says the location has "great bone structure")

What do you enjoy most about working with Moze?
Working with Moze is a very creative process. You get the opportunity to incorporate all your wildest imaginative ideas. Because Moze has also written the script, he is very in tune with the characters. It is wonderful to discuss the characters and help reveal who they are through their surroundings to the most minute detail. He is also a pleasure to work with especially during the shooting as he is so excited about the dance. It is also so gratifying to see his face as the sets come alive with the dancers in them, on shoot days.

You have also worked with Costume Designer Debra Hanson before. What vision of this film do you and Debra share in terms of design? Are there any distinctive (complementary) differences? (Debra Hanson is a veteran of Canadian theatre and film and was for a time the Head of Design for the Stratford Festival.)
Debra Hanson is one of the most creative and gifted costume designers I have ever worked with. I believe Debra and I have a similar sense of conceptual design in that we see the piece Roxana, as a theatrical piece and in order to reveal that goal we need to push the envelope of design through the sets and the costumes. Lets face it, in the real world we don't have people dancing out their lives.

Last words?:
This is a wonderful opportunity to collaborate with other people who appreciate the arts and as a bonus to get paid for doing what you love to do most!