First Time Designer

[peacefulone61]

I have spent most of my professional Life working as Tech Director. I recently switched jobs and to make ends meet i have become the Set Designer. I am having problems figuring out how to reconcile with the director ideas to my original design. The show goes up in under three weeks. What power do i have to stop him from constantly changing the set.

 

[Drmafreek]

First thing I need to know is how major the change is? The reason for this is some things are easier to compromise on than others. If the director would prefer two rocks instead of one, and it hasn't been built yet, than that may be something I compromise on. If he or she wants a complete rearrangement of the platforms, which are already in place, then there may be nothing that can be changed. So, here are some questions you can ask yourself:

-How easy is the change?

-Will the change make my design dramatacially different? And if so, does it detract from my original design concept?

-Is there time for the change to take place?

-Does the budget allow the change to occur?

After these questions are answered, then you can start to devise a plan of action. No Business Director is going to want to make major changes three weeks out if it is going to be costly. The economy just doesn't allow it. The director should understand that if there are time constraints, then the best plan is to go with what was already decided upon. And finally, if you feel strongly about your design choices, you can attempt to persuade the director towards your mode of thinking.

Some directors understand the technical side of things, and are appreciative of the fact that things can't be changed at the last minute. Others have never touched a screw gun in their life and believe that it's just a flip of the switch and everything is fixed. Those are the director's that you have to educate. Not in a "You're a dumb director" sort of way, but just casually explaining to them what exactly goes into the process.

But in the long run, it's your design. If you feel that what the director wants isn't best for the show, then somehow let him see the light. Whatever you do though, don't burn bridges. We are too small of a community.

 

[derekleffew]

...-Does the budget allow the change to occur?. ...

I wish I knew to whom this quote should be attributed:
Designer to Director: "Sure we can move the set. Do you want it $10,000 to the right, or $10,000 to the left?"

 

[Footer]

I always make sure there is a "No Add" date. Basically, what designs I have on my desk at that point will be put onstage, no more no less. At that point I can guarantee that what I have can be built in the time allot and with the money I have. Usually this is 3 weeks out. After that, nothing can be added without a bit of finagling. It can be done.... but its not any fun.

As far as how to deal with your current situation... you can lean back on the money thing. You can also do the, ya... we can do that, when would you like to come in and help get that done? I draw a line with my designers. What they give me in drawing form before load in will appear onstage. If they have anything large that comes up after the fact they are doing it and I might not be able to pay for it. Of course things need to be worked on during tech and I am totally OK with that... because that is what tech is for. However, if they want to add a 3rd level to the set.... that is another thing all together.

 

[Van]

As a TD and constant defender of the scenic designer I often use, although that may not be the right word, the "We don't have the money for that change" defense. I say Use may not be the right word because Use seems to imply intent or aim and mostly that statement is just the cold hard truth. It's a very difficult thing dealing with a Director that wants to make significant changes to a design after it's been approved. I've seen Designers walk and or have thier names removed from the production credits in protest over such a conflict. If it's minor, eat it, if it is really in conflict with the overal design astetic your have to back up to the "Hey I respect your artistic opinion, why can't you respect mine?" arguement.

BTW I love the Quote Derek!! I'm saving that one.

 

[ship]

Once had a director want a weeping willow tree on the set a week before the show opened. I was the TD at the time and the designer came to me in asking advice about how to get it done or approach the director in saying no - design beyond the point. I was his rep. for saying no in this both for the designer and the shop and budget/time for the production.

Just as your position as TD was to at times be the go between the artist / designer tech side and the management or director / theater management, I would think this should be easier for you as a former TD. Or tech side verses at times what isn't realistic for the designer/director to have and help them downscale in concept but get overall goal.

First how important is/are this change(s) as mentioned? How will it effect your design and or in balance help or hurt the show in importance? Is it a idea that might just make or break a play such as a forgotton upper staircase for TR to "charge" up and down in a stair running way which might at times be really important say for "Arsinic and Old Lace"?

When was the final approval of the design short of minor changes if established? This agan in senign to the shop the plans for build that the current TD might have a lot of help for you with as a actuality in cost and time type of thing.

But above all was the three pointed star to go with. Think it was something like cost at the top, time on one side and quality as the third point to it. Quick, fast, or crap or something like that assuming its wanted and only half baked idea that is last minute jitters as opposed to hold the presses type of importance you and the TD now have to chat with the director about.

Some directors don't feel comfortable with a show and with it the design of it until the last minute, its in part them and you and in part inspiration. Further discussion of it being a no or a thing you and the TD get behind out of seeing the importance of this change is only something that can be figured out in an interpersonal way. TD and other designers in this type of production meeting about the changes requested is the only way to solve it in not being walked all over as a designer tool that's less designer with vision for the show based on the design intent than carpenter doing as the director designs an wishes at some point as its designer and you leg man for it.

Could also be a question of if you as designer and part of the design team inspired with your vision that concept you have which the director works and builds his world with or if this world he builds short of having a feel for it is still three weeks before opening still attempting to find it. Could also be a director not ready to direct persay by way of understandign the world of the play the characters inhibit which again is further design meetings.

Seems to me more production meetings of both current thoughts from the director's vision and the world you create within that so as to satisfy all of you. No cut off date yet but really really soon as long as such changes are not too drastic that the budget and what the shop already has done isn't wasted that the TD will represent for you.

TD is your ally in chang up until the point that if important you also agree on the diector's vision change for the scene.

P.S. the director has no power to effect the set once presented - that's between you and the TD or Shop Manager. Any changes he or she might wish go thru you and the scene shop management when agreed upon. If not the above production meeting persuasion of you and the management of a change, or you in persuading the shop management of a change once on' board with it and your fight with the scene shop to change (within budget) it would seem your companie's production chain of command needs more work than that of the production's changes. Paint color... perhaps, Windsor instead of Art Deco perhaps in screaming high and hill about a missunderstood concept but in the end the director has no role in the scene shop short of you as the designer and that of the TD and Master of the shop as in charged of it. No changes direct from the director if bypassing you.

Have fun "oh' Lord its' art, be humble...." Don't burn bridges but thre is no doubt deep problems in the production I think only lots of meetings and understandings will solve at this point. That and a strong production management and TD to back you up I think.