the producers of the upcoming 82nd Academy Awards, are trying to keep
this year’s show moving along at a speedy pace after a series of
telecasts that often seemed never-ending. That effort is even being
reflected in the design of the Oscars set, which was unveiled by
production designer
Rockwell has configured a set for the
show that has multiple presentation areas whose pieces will be able to
quickly transform. Instead of one central platform that doesn’t allow
for simultaneous action, the stage will have three circular turntables
spaced out from one another, each enclosed by curved walls that will
showcase images or film clips.
Rockwell, who was introduced by Shankman as “ever
trim” and “ever brilliant,” has his own architecture and design
practice and designed the
“I wanted to do something new for Adam and Bill, and early on we talked about the vocabulary of variety shows,” Rockwell said.
“We wanted big, open, crisp environments that would
work for comedy. Eventually, that led us to the idea of the set being
about immersion in the world of movies. Stylistically, I realized the
optimism of modernism in L.A. and the heyday of
To frame hosts
“modern decorative patterns” will be used to create lighting designs as
backdrops. In contrast to last year’s production, where the flooring
was black, the upcoming show will feature a floor that is white. (Topaz
and brown are also part of the show’s color scheme.)
But Rockwell is keeping some aspects from last
year’s show intact: He’s bringing back a Swarovski crystal curtain to
border the stage, though some additional bling is being added to
“emphasize the silhouette and shape,” he said.
As in the last show, the stage will again be on two
levels, so that the audience can feel closer to the action. Rockwell is
also building on a reconfigured seating structure that was introduced
last year to bring the audience and the performers more closely
together, by strategically placing faceted mirrors whose reflections
contribute to a sense of connectedness.
Though the sparkling models and animation of the set seemed impressive, the show’s director,
“There’s a number of challenges with the set which
are going to force me to think carefully about how I shoot it,” said
Hamilton. “It’s going to require me to shoot from the right angle, from
the right height. If I get this right, it’s going to look absolutely
fantastic. But if I get it wrong, it won’t work at all.”
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(c) 2010, Los Angeles Times.
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