THE DANISH GIRL
Eve Stewart (Production Design); Michael Standish (Set Decoration)
In “The Danish Girl,” the audience is taken to many flats of the era, whether it be Einar and Gerda’s home in Copenhagen, which doubles as their art studio, the theater where they borrow wigs and stage clothes, or the many art gallery showings to which they attend, where the paintings of the area are in full display. None of these sets of particularly easy to pull off. Shooting outside during a period piece is usually nothing short of a miracle to really pull off and make believable, but seeing as period pieces have been produced for decades now, I at least, am admittedly jaded, and am not particularly in awe of these sorts of films just because they are period and achieve that look.
What’s its competition? Production design for a period piece so no easy feat, don’t get me wrong. But compare the art direction and design of “The Danish Girl” to that of the other nominees, and you’ll like be blown away, just by the sheer scale. And that’s what it will come down to. “The Danish Girl” feels small scale compared to the rest. It’s not even the only period piece as “The Revenant” and “Bridge Of Spies” both land in that category and both make a better case for why they should win far more so than “The Danish Girl.”
Previous nominations? This is the first Academy Award nomination for Michael Standish. This is the fourth Academy Award nomination for Eve Stewart. She was previously nominated for:
- LES MISÉRABLES (2012)
Nominee, Production Design - THE KING’S SPEECH (2010)
Nominee, Art Direction - TOPSY-TURVY (1999)
Nominee, Art Direction
// Produced by Tim Bevan, Eric Fellner, Anne Harrison, Tom Hooper, and Gail Mutrux //Directed by Tom Hooper //
// Dated Viewed: Saturday, January 23rd, 2016 // LAEMMLE NOHO // 31 films – 37 days //
