Best Production Design: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
Yesterday, we looked at which fashion designers dressed last year’s characters the best with the Costume Design nominees from this year’s Academy Awards. Now, we’re observing who made the best environments via the Best Production Design nominees. What sets looked the most convincing? Which films whisked us away to far away places — real or fictional — and had our jaws hitting the floor the entire time? Which domiciles actually felt lived in? Look. I’m no expert on set decorating and construction, although I do have quite a few friends in this field that have taught me a thing or two. I won’t profess to know exactly what I’m talking about when venturing into this category, but I can at least attempt to go with what I do know: which production spellbound me the most. Here are your nominees.
Biggest Snub: Glass Onion: A Knives Out Mystery
A quick shout out to the more obvious snub, Black Panther: Wakanda Forever. However, I think I need to bring up the production in Glass Onion. The main room where all of the bickering and finger-pointing takes place is meant to look like a billionaire’s resting quarters, and does it ever. The art, decor, and light configurations are to die for here. Then there’s the “Glass Onion” itself: a see through structure fit for a Bond villain. Yeah. I know it’s fun to limit the Knives Out films to just being rewarded for their screenplays, but Glass Onion was actually really well designed in the production and set department. You had to feel intrigued for the majority of the film while being limited to only a couple of locations, and I’ll speak for myself by saying I could have spent many moons in these environments.
5. The Fabelmans-Production Design: Rick Carter, Set Decoration: Karen O’Hara
Every year, one of the Best Picture behemoths will get some tech award nomination pickups, and The Fabelmans snagged a nomination for its production design here. The sets in this film are really good, don’t get me wrong (I do love the domiciles of the titular family, and I believe the schools and other local buildings that we attend do feel real and of their time period). They serve their purpose quite well. Would I point out The Fabelmans when I think of the best sets and production of 2022? Not off the top of my head, no. But the work here is still good enough to reflect on in this kind of discussion.
4. Elvis-Production Design: Catherine Martin and Karen Murphy, Set Decoration: Bev Dunn
Elvis has a little more going for it than The Fabelmans does (okay, maybe a lot more), and that comes in the form of the handful of recognizable stomping grounds that Elvis Presley frequented: his mansion, his Las Vegas residency stage, and other iconic spots. With these in mind, Elvis deserves to be here. They replicated these surroundings with such precision, while possessing the same passion and life that you’ll find in nearly every other department in this lavish Luhrmann feature. It’s ranked a little low because I feel like the other nominees were granted the scope to pull off even more.
3. Babylon-Production Design: Florencia Martin, Set Decoration: Anthony Carilino
Regardless of how you feel about Babylon, this film is massive, and you can mostly tell because of the production design. The many years that this expansive film covers are all matched by accurate settings, and I loved feeling like I was being transported to these lavish Hollywood parties of the roaring 20s (and the hectic film shoots that would pay for these celebrations). I had many complaints about this film, but I only have glowing things to say about how its settings are constructed (especially because of how they were built to allow for the long takes or crane shots while still looking complete and believable).
2. All Quiet on the Western Front-Production Design: Christian M. Goldbeck, Set Decoration: Ernestine Hipper
There are two stories here: the battlefield, and the structures that housed the leaders that twiddled their thumbs while millions of their own men died. This contrast is enhanced by how properly designed both sets of location-types are. When you’re placed in a war zone, you can see years of destruction solidified in the Earth’s soil. All of the debris from yesteryear remains. The ugliness of war is seen all around via poorly constructed barricading. Then you zip into the comfortable, safe environments of the politicians and military heads that are highly detailed in their own right, despite the fact that we see them for far less time. No matter where you look in All Quiet on the Western Front, you’re met with settings that feel authentic.
1. Avatar: The Way of Water-Production Design: Dylan Cole and Ben Procter, Set Decoration: Vanessa Cole
I’m not a James Cameron obsessive, but, come on. Avatar: The Way of Water has some stunning production going on (amidst all of the CGI, sure, but it’s there). You can look at this from a very technical level by showing appreciation for all of the green screen rigging (in the same way you may not like Cameron as a storyteller necessarily, but to rag on his knowledge of technology to direct via these kinds of means would be silly). Ignoring the visual effects work (we’ll get more into that later this week on Thursday), The Way of Water still has breathtaking production going on: the kind of futuristic constructions that a sci-fi aficionado would fixate on. Consider all of the vehicles as well. If you’re rethinking what parts of the film are CGI and what aren’t, this may be a testament to the visual effects department, but I feel as though it should be one for the production team as well.
My review of Avatar: The Way of Water
Who I want to win: I feel like Avatar: The Way of Water, All Quiet on the Western Front, Babylon, and Elvis feel like winners here.
Who I think will win: At this rate, I feel like Babylon and its incredible scope will land it a win here.
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee on every weekday.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.