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Interview with Andy Harris

Andy Harris lives in Glasgow and is Scotland's, and one of the UK's, most recognised Production Designer. He has worked on the majority of films produced here, as well as others around the world. He has been a major participant in many areas of training and as such has played a pivotal part in the upsurge of talented art department technicians, both Glasgow and London based. His credits include Regeneration, Gregory's Two Girls and Beautiful Creatures.

Where are you and what are you doing now?
Back home in Glasgow after having spent four months in Dublin working on a feature called The Escapist, directed by Gillies Mackinnon. At the moment I am trying to catch up on paperwork, trying to paint landscapes, get fit on my racing bike and just be around my family. Working away from home is an emotional strain and it takes time to ease back into normal life.

How did you find filming in Dublin?
At the moment in Dublin you have to fight for studio space, for example Ardmore Studios is fully booked with Reign of Fire, a $120 million movie. Can you imagine what that is doing for the Irish economy and the experience and professional development of the Irish film community? Last year in Ireland, film business was worth $100 million to the economy. Compared to Dublin and London, filming in Glasgow is like being in a cottage industry. Despite the wonderful efforts of writers, directors, producers, actors and technicians, we lack the aggressive support and cultural and economic vision from our Government and Executive. Last year I worked in London, Newcastle and the Isle of Man. Studios in London were very busy, in fact the city is expanding its capacity. We do not have a studio in Scotland. Morvern Caller, for example, is a Scottish story, with a Scottish director and Scottish financial investment. If we had a studio, maybe someone might have persuaded them to use it and employ a few more Scottish based technicians. Instead, the studio scenes were shot in London.

What other films have you worked on recently?
Last year I worked on Marc Samuelson's Gabriel and Me, a feature directed by Udayan Prasad with the screenplay written by Lee Hall, who wrote Billy Elliot. It stars Iain Glen and Billy Connolly.

What was the last film you saw and what did you think?
Since my two children arrived on the scene, my movie going has been severely curtailed. I think my last movie was Gladiator, which I loved especially the production design by Arthur Max, who also did a wonderful job on Seven. A few nights ago, I watched Reds, which looks stunning - no surprise given that it was lit by Storarro and designed by Richard Sylbert.

What, in terms of production design, are your favourite films and why?
I have many favourites. Sometimes the design of a film may not be obvious; often designers work away in the background shaping the choice of locations, forming the look and making the film work financially. I think maybe Bertolucci's Conformist or maybe Last Tango in Paris both designed by Ferdinando Scarfiotti, who drew inspiration from the fabulous Hollywood films of the 30's and 40's. For a period after this time, the look of a film was considered less important and it was not until Coppola, Scorsese, Schrader etc re-established the importance of the coherence of the 'the look' of movies, that had been lost in the 50's and 60's. I feel that we can see the influence of Scarfiotti in much of their work, for example The Godfather, American Gigolo, Tucker. I could go on and on - Barry Lyndon, Chinatown, 2001, Citizen Kane, Paths of Glory, Dr Strangelove, Lonely are the Brave, Come and See, Salvatore Guiliano. These all look fantastic. Does anyone remember what it was like to see Alien for the first time?

Of all the films you have designed, which was the most memorable and why?
Regeneration is the most memorable because it was so physically difficult to make and because it is a film which in years to come will be a proud example of film-making in Scotland. It was directed by Gillies Mackinnon from an amazing book by Pat Barker. The budget was small given the film's ambitions and the fact that it was made in mid-winter is a fantastic tribute to the Scottish based technicians who worked on it, especially the construction and props department.

What made you want to be a production designer?
I wanted to be a director but just don't have the bottle. So as a production designer I think I do the next best thing.

Who are your favourite designers and why?
Scarfiotti, Dennis Gassner, Dean Tavoularis, Ken Adam, Alexander Trauner, Richard Sylbert, Stuart Craig - the list could go on and on. Whilst I was an assistant at Thames TV in the late '70's I had the privilege of working with some wonderful designers - David Marshall (now retired), Allan Cameron (The Mummy) and Norman Garwood (Glory) and so I always watch their work with great pleasure, for they are great characters who are proud to be designers and who love movies.

Who has been the most interesting director you have worked with and why?
They are mostly all interesting; all are different and demanding in their own way. However, sometimes for the sake of the film they have to be difficult and that's okay. What a job they have and I can't help but admire them. I like directors to push me off balance and make me look at scripts in a different way.

What is your favourite period to design for?
I have no particular favourite period as I always take my enthusiasm from the script and the vision of the director.

Have you got your eye on any emerging talent in the art departments you have worked with?
Kay Sheridan of New Entrants Training has had a profound influence on the emergence and training of art department talent. I have worked with many of them and they are a joy to work with, even if their lack of respect for me is unbelievable - to the point of melting my lucky mascot radio! However, for these people to compete in the movie world, tragically they have to leave these shores to gain more experience because we do not have a proper studio or enough movies of any size budget to give them the experience they need to compete with the kids in Ireland, London or other parts of England. We need more films involving physical SFX, CGI and big back-lot and studio builds or our base level of expertise in making drama of any kind will drift away. Short films are only a calling card, a beginning; they have very little relation to actually making movies and their value as training is limited. Economically, they can not sustain existing film services or existing crew.
Film-making is a tough old business and it can grind you down. The only proper way to learn is on the job and through experience of others help. This applies to short films, 16mm, 35mm or digital film-making.

What are your 5 favourite films and why?
I did try to answer this question, but the list just went on and on. My dear father introduced me to movies at an early age and we spent many happy times at the old Cosmo cinema. Movies are part of my life, I earn my living working on them, they have helped shape the way I behave and think of the world and I believe they are the most exciting art form today.
The first film I ever saw was Moby Dick. Even to this day I watch it with a sense of wonder, I still cry when Spartacus is on the cross and still squirm with excitement and anticipation over the opening music and street scenes of Sweet Smell of Success.

What do you have planned to do now?
I hope to spend some time at home and see Partick Thistle rise to the Premier League. I haven't worked in Scotland for over two years now, but given the current state of film production here I don't hold our much hope. Thistle are a safer bet.

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