Production Designer, Ryan Smith
Ryan Warren Smith is a multifaceted Production Designer who designs Commercials, Music Videos, and Independent Feature Films.
He began his film career as an on-set dresser working alongside high profile directors such as Sean Penn & Gus Van Sant. His first film as Production Designer was Kelly Reichardt’s “Wendy and Lucy”, starring Michelle Williams, which premiered at the Cannes Film Festival before being screened at numerous film festivals around the world. It was also nominated for two Independent Spirit Awards, including Best Feature.
In the past four years he has designed four feature length films, including: “Some Days are Better Than Others” directed by Matt McCormick, starring James Mercer & Carrie Brownstein; M Blash’s “The Wait” starring Jena Malone and Chloe Sevigny, Polsky Brothers’ “The Motel Life” starring Dakota Fanning, Emile Hirsch, and Stephen Dorff; and the 2012 Sundance pic “For Ellen” directed by So Yong Kim, starring Paul Dano, Jon Heder, & Jena Malone.
Photography by Christopher Blauvelt
First off, you began your career working alongside directors such as Sean Penn & Gus Van Sant how did that come about? Was working in film something you always knew you wanted to do?
Working in film has been my dream since I was 7 years old when I saw “Stand By Me.” I was in awe of this film: and the magic behind how the story was brought to life on the big screen. The idea of shooting a film out of sequence and then putting it together like a puzzle to create something that can move people has always intrigued me. It was an obsession and a goal of mine from a very early age. My parents were very good about getting me to the movies I wanted to see, and buying the VHS’s I was enamored with. They also got me a video camera at a young age to experiment with. Both of my parents were always really supportive of my creativity and love of exploring new things. Thanks guys!
As for working with Sean Penn, that was the payoff of taking a risk and following my instincts. At the time I was working on an Oregon Lottery commercial, as the Art Director. I got a call saying Sean Penn was coming to town to shoot “Into the Wild” and they were looking for set dressers. So I’d have to give up the top position in the art department on a commercial for the bottom position on a film. I trusted my gut and went with the film. As a set dresser, you are never on set while the camera is rolling; you are always before and after camera setting up the scenes. On my 2nd day the set decorator said that the on-set dresser was sick, could I cover for him for the day? Had I been an on-set dresser before? This was my opportunity to be next to an inspiring director and be able to watch him create. Although I only had experience in this position in smaller music videos and commercials, never in film, I said yes, believing that I could step into this role on a larger scale. My first day as the on-set dresser, I ended up working on a scene that was a closed set, just Sean, the director of photography, William Hurt, and me. It was incredible. The next day the on-set dresser was sick again. I stayed on. At the end of that 2nd day Sean asked if I wanted to travel with them for the rest of the film. I wanted it so bad and it worked out. I’ve been making movies ever since. That one decision changed my life.
Working with Gus came a few years later after I gained more experience and became well established as an on-set dresser on a few films. I built a name for myself as a skilled onset dresser and was offered this position on Gus’ last film here in Portland. Having the opportunity to work on set next to Gus and his Director of Photography, Harris Savides was some of the best schooling I’ve ever received. It was a truly incredible experience.
What job titles have you had over the years working on set? What has been your favorite one?
I started off as a general production assistant (PA) picking up trash, getting people coffee, etc. I worked as a personal assistant to a director. I’ve been a camera operator, carpenter, art dept. PA, prop master, set decorator, art director, and now production designer. I’ve worked every position in the art department before moving my way to the top. These experiences were all so helpful. It’s good to know the details of every position, especially if you’re going to be in charge of them. My favorite job is the one I do now, production designer. I love focusing on the details of this position. I love the creativity and the absolute lack of monotony. I’m always doing and learning something new.
What classes/degree did you take to get ahead in this field?
I never went to “school” for this. After high school, I completed a few film classes at a community college in Arizona where I grew up, but I quickly lost interest in sitting in a classroom. I felt that I needed to get out into the world, and learn through real life experience. I traveled the world on and off for about 4 years and visited over 35 countries. While I was abroad, I worked every odd, under the table job you can imagine. I read a book a week. I watched as many movies as I could. I met amazing people, and learned to see beauty everywhere. I watched any Director commentary DVDs that I could get my hands on. Then I moved to LA and started at the bottom. This was my school.
Have you had any mentors along the way?
Yes, a few. One is my brother, Jonny. He taught me to be creative from a very early age. He encouraged me to follow my dreams and would never let me settle for less. Still hasn’t. He’s my hero. Another mentor of mine is the director, Wayne Isham. I met Wayne and his wife, Connie, during my travels while passing through LA at the Roxy in Hollywood. We ended up drinking and laughing together at the bar and I told them of my adventures and future travel plans. They were both so kind and encouraging. At the end of the night they handed me a $100 bill and a pen. They said, “here is some $ to get you where you are going next, and here is a pen to writes us when you get there…” I did just that, and continued to write to them throughout my travels over the next few years. When I eventually made my way back to LA, I visited Wayne and Connie. They had kept every letter and postcard I had written in a book, and then they offered me a job. It was so sweet. I became Wayne’s assistant and worked for him for about 2 years. It was incredible. I saw every project from pre-production, shooting, through post-production. He included me in every step of his creative process. We traveled all over the world and shared many laughs. He encouraged me to go into the art department where he saw I had many strengths and interests. Wayne, Connie, and their producer Dana Marshall, really believed in me, which helped propel me forward in my career. I wouldn’t be doing this now if not for them.
Describe what the typical duties are of a Production Designer/ On-set Dresser.
The Production Designer and On-set Dresser are very different roles but so integral to each other. The Production Designer is always 2 steps ahead of camera, planning the overall look of the film, and organizing all of the aesthetic details through the set decorator, art director and prop master. The on-set dresser is the last set of eyes to see what has been placed in front of camera to be filmed. They maintain the set along with the on-set prop person. They are in charge of how things look within the frame along with the continuity of the scene. It’s a very important bond between the on-set dresser and the production designer. The on-set dresser must carry out the PD’s vision and to make sure that vision isn’t compromised. Being an on-set dresser was a great learning experience for me in preparation for stepping into the role of Production Designer.
What does a typical day look like being in the movie business?
It depends on if you are talking about prep or shooting or wrap. Most of my work is in the prep. These prep days include hours upon hours of research. Every detail must be thought of and planned for. Every single thing you see in front of the camera, whether it is car, a plate of food, or a clock on the wall (and what time the clock says) – all must be thought of and planned on making the overall look and tone of the film. This includes the colors, specific styles, and what would be realistic for a character to have near them. You not only have to think about what the character would have around them now, in the present, but what they were into a few years back. As humans we create piles of past interests, those details must be thought of too. Most of my time is spent contemplating, researching and planning these details. Once shooting begins, it’s about making sure everything you planned and researched comes through in each scene. Wrap is the mellowest part of the film making process. This includes making sure you know where everything you brought into the film goes once the filming is completed, and a system to find these things again if they are needed for re-shoots. Every day in the movie business is unique, stressful, challenging, and equally rewarding.
One of the movies that you worked on recently opened and was a 2012 Sundance pic; can you tell us a little bit about “For Ellen” and what went into the filming process?
I got involved with the project “For Ellen” because I was recommended by Paul Dano, who I became good friends with while working on the film “Meeks Cutoff.” he had this small film coming up that he was producing & acting in, which was written and to be directed by So Yong Kim. I was already familiar with So Yong Kim’s last film “Treeless Mountain,” which I loved and was truly moved by. I was very eager to work with both So and Paul, as I greatly respected both of them and their work. I got the job as the Production Designer and flew to upstate New York in the middle of winter. So picked me up in Albany and we drove 5 hours through a snow storm together. It was the first time we had met in person. I loved her instantly. So and I got to the small town we were set to film in a few weeks before anyone else. This gave us a lot of time to find all the locations together. When you’re dealing with a film this small it is crucial to find existing locations that will fit the look of the film. Then you can build upon them, or scale them back. The crew on “For Ellen” was very small, about 10 people. I was a one man art department. I hired an intern from a local college to help me for portions of the project. But mostly the actors and other crew members would all help out. It was a great way to do it. There is no division between departments, just good people trying to tell the story. Jon Heder came into town a few days early before his scenes. So and I hired him to be my set dresser. He actually dressed his bedroom in the film with me. We moved furniture in and out together, and then placed dressing in appropriate places. He had never experienced that. He loved it, and he was able to add some of his character’s personality into the feel of the set. To have the input of what he thought should be on his bedroom shelf was priceless.
What projects are you currently working on? Can you tell us a little bit about those?
I am currently working on commercial jobs and taking some time to be at home. I do have a few films coming out within the next year: M Blash’s “The Wait” starring Jena Malone and Chloë Sevigny and the Polsky Brothers’ “The Motel Life” starring Dakota Fanning, Emile Hirsch, and Stephen Dorff.
For someone who has gone to film festivals, can you tell us what the vibe is like during them? What has been your favorite one so far?
Film festivals are a lot of fun. Especially if you have a film there. It’s the big payoff. It’s been years since you shot the film, so you get to come together with the filmmakers and actors and celebrate what you created. It’s a blast. A lot of open bars and parties, meetings, a lot of cool films, and the opportunity to meet interesting people who are making great things. I always feel very lucky to be at a film festival. I dreamt of going when I was younger, so each one feels like a huge accomplishment. There are also a lot of nerves involved, as it’s the first time the public is seeing what you created. So you’re excited, nervous, hopeful, and proud. It’s a wide range of beautiful emotions. My favorite so far is the Cannes film festival, which I went to with a film I did called “Wendy and Lucy.” it’s just so beautiful there, the films that get in are top notch, and its France! The food and wine are amazing. The parties are so fun. It’s unreal. I was very spoiled by my first film as the production designer getting into this festival. I really hope to go back one day.
What’s the biggest surprise about working in this field? Was it what you thought it would be like?
The biggest surprise is amount of time and work that goes into a film. I never knew it would be so consuming. But it still is what I thought it would be like. I always made movies as a kid, with my friends. And we’d laugh and stay up all night creating. I still get to do that. I have moments when I’m making a movie now, and I’ll stop and experience that exact thing I would feel as a kid. That’s amazing. I love it.
What do you think has been your greatest accomplishment so far?
Simply getting to make movies. I love getting to work with creative people that I respect and admire. But most of all, chasing a boyhood dream and catching it.
Where do you see yourself 5 years down the road?
I want to continue to make films I believe in, but on a larger scale. I hope to do fewer commercials, more films. I would also love to write and direct something of my own. On a personal level, I’d love to be a dad in the next 5 years. I’d love to simplify my life even more, work less; only on things I believe in, and live somewhere outside of Portland, somewhere near water. I’d love to live on the ocean, a river, or a lake.
What are your top 5 favorite movies, of all time?
That’s a tough one. I love so many films. So many have moved me and shaped me. But if I have to pick 5 they would be: Magnolia, Stand by Me, Shawshank Redemption, Requiem for a Dream, & A Vicious Kind. In no particular order.
Besides working on films you have also done music videos for The Shins, The Black Keys, and Sheryl Crow, to name a few, and have also done a variety of commercials. How is the process of working on films different than of music videos and commercials?
Commercials and music videos are much shorter projects. The total projects lasts anywhere from 2 – 14 days. In and out. They are also very shiny. Everything must look cool and bright and clean. There is no character there. It’s all about the product, whether it is a pair of shoes or a bands image. In a film it’s all about things feeling real and authentic, to keep you engaged in the story. On a film my job is to be invisible. On a commercial my job is to completely visible and stylish. They are opposites. But one can’t exist without the other for me. The films I love and choose to do don’t pay much. So I must make commercials in-between. I very rarely do music videos anymore as the music industry has changed a lot in the last 10 years, and there is very little money for music video budgets. Now I only do music videos for bands I really love and believe in their creative vision.
What’s the best and worst part about working in the film industry?
The best part is creating something as a team, telling a story that you believe in, and seeing it all the way through with passion in your heart. The worst part is having to leave home and being away from my wife, family and friends. There’s no getting used to that.
Being in this industry you must get to travel to a lot of different places. What has been your favorite place so far?
The traveling is such a great perk. I’ve really loved shooting in Buenos Aires, Argentina and Taipei, Taiwan. Really, I fall in love with every place I get to go, working or vacation. I always want to move there. Beauty is everywhere.
Be honest, have you or would you ever get start struck by any one in particular?
If I met Leonard Cohen, Bob Dylan, or Paul Thomas Anderson I would be, or a lot of old writers who aren’t alive anymore – Richard Yates, Bukowski, and John Fante. Their work just means so much to me. I’ve met a lot of big actors, which is cool; it’s the directors that get me nervous and excited. I was star struck this one time, it was actually really funny. I was at the Cannes film festival. My friend Michelle Williams had a film premier that she invited me and my wife Kate to. The film was “Synecdoche, NY” which was written/directed by Charlie Kaufman, whom I’m a very big fan of. It was also produced by Spike Jonze, again, whom I’m a big fan of. We also get an invite to a dinner afterwards. Kate and I show up and it’s a who’s who of Hollywood, stars everywhere. We sit and eat dinner and my nerves are shot, I’m so excited by the thought of meeting Spike and Charlie. I then realize I’ve been nervously eating shrimp cocktail with my bare hands. I’m thinking, I can’t shake the hands of these heroes of mine, and have my hands smell like shrimp! I explained this to my wife, who hands me a brownie, and I rub my hands with it, covering up the shrimp hands just in time to shake their hands. Brownie hand wash. Never fails. I have since become friends with Spike, and when I told him this he laughed really hard, and appreciated the gesture.
You live in Portland, one of the well-known artsy cities, how do you think that impacts your creativity?
I’m in love with Portland. I truly believe it’s the best city in the country. It’s a very special place. It’s also such a visually beautiful place. It rains a lot which makes it so lush and green and the air feels so good. People are very kind here too. I’m always impressed by the interactions I have while I’m out. I’m always laughing with new strangers which didn’t happen much when I was living in LA. It’s a very simple place to live. Everything is close. I love the music coming out of Portland. I love The Shins and Modest Mouse, and also the film makers that choose to live here, guys like Gus and Todd Haynes. Also writers like Willy Vlautin and Jon Raymond. It’s a small town so these are all people I know and love, people that inspire me. Also Oregon as a whole, very much inspires me creatively. The outdoors here is amazing. The Oregon coast is the most beautiful place on earth to me-the trees and the waves. It just fuels me so much. The lakes and rivers do too. There is just so much beauty here – that really inspires me to take photos and notice colors. Oregon is definitely my home.
Is there a moment that sticks out in your head that made you realize that this is the perfect job for you?
It’s mostly the moments where I’m laughing and creating with my friends. It’s the moments that make me feel like a kid making a movie with my dad’s video camera. Then I remember that now I get paid to do this. It’s unreal!
Although at times it must be a fun job, it must be a very high stress job, what does it take to make it through the day?
It is very stressful. I’m the kind of guy who wears one pair of shoes for months at a time. When I’m making a film I buy a new pair of shoes and I place them where I can see them, wherever it is I’m staying while making the movie. And when I see those brand new pair of shoes, I know that a day will come, when the film will be over, and I will take off the shoes I’ve been wearing for months. I’ll throw them away, and I will put on those new shoes and I will go home. I know the feeling I will have will be a proud one, as I will have made another dream come true, and I will be going home to be a husband, brother, uncle, and friend again. This helps me through the day, seeing those shoes. Also my wife helps me so much. She is my teammate and reminds me of many things, and tells me what I need to hear. She also reminds me to take my vitamins, which help me, stay healthy and clear headed.
What is the biggest lesson you’ve learned working in the entertainment industry?
To always listen to my instincts. This is everything. It is behind every choice I make, from the decision to make the film, to what goes on the characters desk. It’s all about being in tune with your instincts. Everything starts and ends there. I’ve carried it over to all aspects of my life. It’s the most valuable and truest thing I know.
Lastly, what would you tell other people who want to work in the movie industry?
That you can do it. It’s all up to you. The only person, who will hold you back or take you where you want to go, is you. Move to where movies are made, work for free, struggle, and learn. Be kind. Put yourself out there and take a chance. You can do anything you want in this life; it’s the best thing in the world to know!
