Variety Mentions ICM Clients on its Artisans Elite Report
ICM Partners is pleased to announce that fourteen of our clients have been named in Variety’s Artisans Elite Report. The report, which highlights the work of the entertainment industry’s leading craftspeople, sheds light on the behind-the-scenes creatives who work alongside directors to make their visions come to life.
With credits ranging from “War Dogs” to “The Fate of the Furious,” Carlos recently designed the final two episodes of HBO’s “Westworld” Season 3, after serving as the series’ supervising art director since 2018. “My goal has always been to employ a design baseline and stringing fundamental tissues throughout,” Carlos says, emphasizing the show’s unique creative diversity, with elements both historic and futuristic, grand and intimate. “I strive to create a visual narrative [by connecting] texture with tone and [through] the play of light. I am interested in the process of discovering the appropriate aesthetic level of strength or subtleness to reveal a story.”
Cooke has a martial-arts background and started in showbiz on shows including “Hercules” and “Xena” before such features as “The Lord of the Rings” trilogy. The New Zealand native moved to England for a “five-year working holiday and turned into some 20 years later, I’m still here.” Working on “‘Mulan’ was a fantastic experience. I was lucky enough to go back and shoot in New Zealand after not working there for 20 years. The cast were very dedicated and trained super hard in order to make the action scenes come alive.” He is now lensing “Jurassic Park: Dominion,” which started “in the depths of COVID. We were only a few weeks into shooting when lockdown happened. The production team has worked very hard keeping the cast and crew safe and keeping the film up and running.”
Ruth De Jong
n the past decade, De Jong put her stamp on numerous celebrated TV shows and movies, including Jordan Peele’s “Us” and David Lynch’s “Twin Peaks,” earning an Emmy nomination and multiple nods from the ADG. Her work on the first season of Taylor Sheridan’s modern Western “Yellowstone” set the tone for the whole series, as she found the iconic Montana ranch to stand in as the Dutton home with great difficulty, even when the studio insisted on Utah for its production incentives. “[I thought], ‘They will fire me. This is crazy.’” But when she discovered Chief Joseph Ranch through painstaking on-location research, she knew. “It is what grounds the show,” she says.
Emmy-winning Eyrich is producer Ryan Murphy’s touchstone for costumes. Eyrich received a double nomination this year for her work on “Hollywood” and “The Politician.” Her creations begin with a sit-down conversation from where a dream board is born. Colors, fabrics and photos are added that build the iconic looks Murphy serves in his shows and movies.
A multi-award winner for Netflix’s “The Crown,” Goldman has been defining the show’s visual character since its inception, achieving the “period look” mostly on camera, avoiding de-saturating colors in post. “All departments had to embrace the use of muted colors,” he says prior to the series’ upcoming Season 4 launch. “We shot on very old lenses with diffusion filters to make [the look] softer, [which] has changed a little [over time, becoming] more contemporary, less romantic.” For Goldman, it’s a privilege to efficiently work with the same crew on the series for years, as well as collaborate with new directors. “It takes me out of a possible comfort zone.”
“All filmmakers need an audience that will be responding to the story that the artist is presenting them with,” Kaminski says. As a longtime collaborator of Steven Spielberg’s, Kaminski is now framing “West Side Story.” “I always look for ways to convert the written words into images that support the story. I also want to connect with the audience through images and my interpretation of the film,” he says.
Three-time Oscar winner Powell can take things and flip them on their heads while making sure she serves the story. If anyone can take a low- budget project and inject a memorable look, it’s Powell, most recently in “The Favourite,” “The Glorias,” “Mary Poppins Returns” and “The Irishman.”
His work was acclaimed in last year’s “The Irishman” and this year’s “The Glorias.” “One of the first cinematographers I became aware of was Néstor Almendros because of his book, ‘A Man With a Camera.’ His whole notion of naturalism I found fascinating. At that time, cinema in general, and Mexican cinema in particular, had a way of lighting with hard light and hard shadows, which I did not like. So I found Almendros’ approach to be interesting and refreshing,” the DP told Variety in December.
Quinn’s work for “Judy” earned her a BIFA nomination but she and her team were able to evoke the brassy mid-1960s London on a strict budget by clever location work and strategic painting and other magic employed by those in her discipline. For “The Great,” she set the template for the season with her designs on the first episode. It was important for her to make sure that the environments looked lived in, that they functioned as actual living spaces. “Nothing is kind of perfect,” she says, a different look for a period project. For “Emma,” she and director Autumn de Wilde and the rest of the below-the-line team work tightly as a unit on the director’s visions for the characters and their various color palettes. They were lucky to find a privately owned house that they could paint, she notes. Right now she is working on a TV project for Danny Boyle although details are still under wraps.
Earlier this year, Rubeo was honored by her peers at the Costume Designers Guild with the award for period film (“Jojo Rabbit”). “I always think that the win was for my culture. I came from a country where sometimes pursuing a dream becomes a nightmare,” says the Mexican artisan. It “gave me the self-confidence to break many barriers.” Next, Rubeo’s work will be seen in the Disney Plus miniseries “WandaVision,” based on the Marvel characters Scarlett Witch and Vision. For the series, Rubeo closely collaborated with director Matt Shakman and other departments. “I had to work very close to the director of photography Jess Hall and production designer Mark Worthington. It was clear to me that working in black and white you need to use much more contrast in the fabrics in order not to lose the textile information,” she says.
New Zealand native Vincent scored his first major credits, as did so many of his countrymen and women, working on Peter Jackson’s Middle Earth sagas – in his case, as an Oscar-nominated set decorator for the “Hobbit” trilogy. But Vincent has made his name as a production designer through his five projects with Taika Waititi, most recently 2019’s WWII piece “Jojo Rabbit,” and the upcoming “Next Goal Wins,” a contemporary film about American Samoa’s national soccer team. “The ’Next Goal Wins’ aesthetic challenges were mostly about finding an authentic backdrop for the story, much like building the setting for ‘Jojo Rabbit,’” Vincent says. “In the correct setting a plastic outdoor table in 2014 American Samoa can carry as much descriptive weight as a Bauhaus night stand in 1940s Germany.”
Wyatt has worked with a passel of the most forward-thinking British auteurs, filmmakers such as Shane Meadows, Yann Demange, Peter Greenaway and Francis Lee. “Every one of them has got a very, very distinct DNA,” says Wyatt, whose work can be seen in the subtle and powerfully quiet love story of Lee’s “Ammonite.” “You’re really looking for that point where you can just find your equilibrium with the person that you’re working with,” he says. “It’s probably the most intense collaboration.” Wyatt has often found himself working with first-time directors, and on his latest project, “Supernova,” starring Colin First and Stanley Tucci, he’s working with rookie Harry Macqueen. “I’d say from a performance point of view Colin Firth and Stanley Tucci are both are both outstanding … they’re both extraordinary. It helps that they’ve known each other for a long time, so that’s really handy already. You’ve got the chemistry there from day one.”
A longtime editor with more than 20 credits to his name, Yoshikawa has just wrapped screenwriter Lisa Joy’s debut film in his Los Angeles home. “One thing that quarantine did force us is to go on hiatus for a little bit and step away from it, come back to it and that’s valuable,” he says of editing the project. Yoshikawa enjoys “bouncing between the big ones and the smaller, more character-driven stories.” He has edited episodes of HBO’s “Succession” and “Westworld,” while dabbling in short films. Up next is creating a movie with director Francis Lawrence, with whom he had collaborated on “Hunger Games: Mockingjay” in 2015.
The VFX wizard behind “Jojo Rabbit” and “What We Do in the Shadows” has seen the field change drastically since he started out on James Cameron’s “Avatar.” As head of digital for Bron Studios, he says, he is uniquely positioned to work during COVID. For the children’s animated series “Fables,” they have been using actors working against a greenscreen. Because they come from the same family, they can safely work together, he says, while he and his crew are behind glass screens. “We have something like a 30- to 40-person crew but the only people who are physically in this space are eight people.”