Why did you want to become a set designer?
GD: A few weeks after successfully defending my Master of Architecture thesis, my thesis advisor held one-on-one closing interviews. It was in this interview that I declared that I no longer wanted to practice Architecture at the conventional firms. I had fallen out of love with the industry, but not of design. We talked about lateral moves that I could make that would still require a Master Architect degree and he mentioned Production Design in Film and Television. I had never heard of the career before, and was amazed when it was described to me. I grew up fascinated by film and would seek out all the behind the scenes footage from my favorite movies. My thesis advisor connected me with some alumni who had made the jump to the film industry, and I eventually got hired on my first film in Montreal. Five years later, I’m still grateful for that faithful interview with my thesis advisor.
If you were not a set designer what business would you be in?
GD: Definitely still within the field of design, probably furniture design, or graphics.
What is it that you love about your job?
GD: The creative minds that I get to work with. People who don’t work in film have trouble appreciating how many people are involved in every decision on screen. On larger scale productions, there can be literally hundreds of people working on a set from concept design, to architectural drawings, to construction, to scenic, to set decorating, to lighting, to camera, to post and everything in between. It truly takes a team of people working together.
How did your family inspire your career?
GD: My bi-racial parents encouraged my sisters and I to develop interests in different cultures and travel. Through family trips in North and South America, I grew to admire different styles of architecture, foreign cultures and languages.
What is your favorite movie?
GD: Joe Wright’s Pride and Prejudice, Sister Act and Jurassic Park.
Who are your favorite actors?
GD: Robin Williams, Jack Black, and Denzel Washington.
Who are your favorite actresses?
GD: Meryl Streep, Cynthia Erivo, and Cate Blanchett
What is your favorite type of film drama?
GD: Historical Fiction.
What advice would you give someone just starting out in the business?
GD: Never lie about your skill set, it always comes out in the wash.
Who are your favorite directors?
GD: David O’Russell and Emerald Fennell.
Was there something pivotal in your life that changed the trajectory of your career?
GD: After my first film in Montreal, the production designer pulled me aside and asked me if I wanted to stick with this career. I said yes, and he said, “Then you should leave Montreal.” Though I am fluent in French, I am not French and therefore - according to him - would be overlooked for jobs. “If you’re starting your career somewhere, better to do it without any barriers.”
How does Toronto film making differ from anywhere else?
GD: I’ve spent the majority of my career working in Toronto so it’s not too fair to compare it to other cities, but I have found that there is pride in Toronto Film. When one production does well (i.e. The Shape of Water won Best Production Designer at the Academy awards in 2018) it feels like a win for the entire city.
How do you see your career going in the next 5 years?
GD: In five years I hope to be working in New York City, still in the film and television industry, but as an Art Director. I have every intention to climb the ladder and become the Production Designer one day.
What’s the funniest thing that happened to you on set?
GD: When I worked on CBS Star Trek: Discovery, actress Michelle Yeoh stepped on my open toes in 6-inch heels. She immediately apologized and we laughed about it weeks later at the wrap party.
What is the most joyous time you have had on set so far in your career?
GD: Every show I’ve worked on has had its joyous moments, but my two years on Season 2 and Season 3 of Apple TV+ See stands out. It was an exciting creative opportunity to world-build for that show alongside some of the best designers in the entire city. The art department grew to become very close during our time together, and still keep in touch regularly.
How do you see film in the next 5 years?
GD: Through VR glasses.
How does interior design affect filmmaking?
GD: Interior design - or set decorating - brings the human scale to a set. Furniture, artwork and textiles add an additional dimension to a set, offering the audience another lens through which to perceive the production.
What design trends do you see happening in film right now?
GD: In order to present your design work as photo realistically as possible, designers are developing their rendering skills more than ever before. Softwares light TwinMotion and VRay allow designers to render their digital models to incredible likeness.
What’s your favorite color palate?
GD: Films that wowed me with its beautiful color pallet and phenomenal production design were the John Wick films, particularly the 2nd and 3rd films. The world building is exceptional.
How does CGI affect what you do as a set designer?
GD: If a production incorporates a lot of CGI - that means that the initial production design involved a lot of green screen. This can be frustrating for designers as it takes the actual designing away from us and gives it to the post production crew. Productions that I’ve been fortunate enough to work on have preferred to build as realistic as possible.
What types of greens screen films have you been involved with?
GD: My first production, Chaos Walking, was a sci-fi film that incorporated green screen usage on several sets. After Chaos Walking I moved to Toronto where I worked on CBS Star Trek Discovery Season 2. Star Trek is notorious for heavy usage of green screens, and it was there that I grew to appreciate fully realized sets.
Do you like film or limited series or episodic the most?
GD: I enjoy working in film and television equally. I’ve treated every production the exact same in my career because they are all different ways of telling a story. I was lucky enough to work on the FX limited series Mrs. America, where the production designer referred to the show as an eight - hour film. Even when I was in Architecture School, we were always taught to design a shed with as much attention to detail and sophistication as you would a skyscraper.
Who have been the best actors to work with?
GD: On Lionsgate’s - Chaos Walking I was able to work with Tom Holland and Daisy Ridley, and both came to the film with enthusiasm and excitement that rubbed off on the whole crew. On Apple TV+ See, Jason Momoa was very involved in the creative process and was always visiting the art department to see the latest set designs.
How do you find your work?
GD: If you’re a member of your local union, then you’ll have access to the union database containing all members' contact information and availability dates. The “hot list” is a document sent out weekly that informs union members of what productions are looking to hire and who to contact if you’re interested. That being said, networks in film are built by word of mouth. It’s a small community where some people have worked for decades together, so reputations are crucial for longevity.
Talk about your work ethic.
GD: I grew up playing competitive ice hockey back where I grew up in Ottawa, and at the age of 15 I broke the season scoring record and I was provincially ranked in my age category. I used that competitive edge I developed to get into the best architecture school in the country, Carleton University’s Azrieli School of Architecture and Urbanism. The acceptance rate of the Bachelor of Architectural Studies was less than 5%, and I was one of the fortunate few. Architecture school, both during my Undergrad and my Masters, challenged my classmates and I in every capacity imaginable. Our confidence, mental strength, stamina, time management, communication skills, hand crafting, artistry, ability to withstand criticism and much more was tested in an exceptionally competitive environment. This process has taught me to trust the process, and to welcome failure when trying something for the first time. Every skill I’ve mastered evolved from no experience at all.
I advance my arsenal as a designer to stay competitive in the field, both during and between productions by learning new software programs online (i.e VectorWorks, Rhino, TwinMotion, etc.). Keeping that in mind, I make sure to take time off between shows to travel and reconnect with people in my personal life.
How did you get your start?
GD: In order to become a member of the art department in film and television, an application must be submitted to the union (Director’s Guild of Canada), which is only open once a year, and must include a portfolio of the applicant’s work. Interviews are then conducted between the applicant and the board of
submissions. Once the student has been accepted, they are enrolled in a 2 - week training program to learn about the fundamentals of the art department. This is called the GAP program. Should they be fortunate to get hired after the training program, they are given the role of Trainee.
I, however, did not go through any of that. Days after defending my thesis (18 to be exact), I reached out to someone in the film industry with interest in eventually working in the field and they offered me a job right away. The industry was so busy at the time that I was expedited past union regulations and never did the training program. I am a full member of the union, but I bypassed the application, interview and training processes. I don’t believe I would have bypassed the aforementioned process had I not had my Masters in Architecture and Bachelors in Architecture. It is also important to note that individuals coming from the GAP program need to obtain a certain number of days experience on 3 or more shows before getting upgraded to set designer. I was a set designer on my first job in the industry.
I can’t speak for all of the US film cities, but I have done research on New York and I know a large number of people in the industry come from a Theater background. Those with architecture backgrounds tend to be in much higher demand due to their skills in design and practical construction. So yes, people like me are hard to find.
Do you have a mentor in the business?
GD: Many, on Chaos Walking I worked with Caroline De Bellefeuille and learned how to maintain healthy communication between all the disciplines in the film industry. On Star Trek: Discovery, I learned from our Production Designer Tamara Deverell and fellow set designers Emilie Poulin, Tijana Petrovic, and Esther Kao, who taught me how to manage a sustainable balance between personal and professional life. On Mrs. America I learned from our Production Designer Mara LePere-Schloop, how to bring out the best in your art department and to encourage pride in every task you’re handed. On See, I followed the leadership of people like Caroline Hanania, Dean O’Dell, Brent McGillivray and Danielle VanHelden, to realize our ambitious design dreams come to life.
What kind of skill set does it take to be a set designer?
GD: I always tell people trying to get into the industry to prioritize their time studying the fundamentals of design over honing their digital programming skills. Yes, programs should be treated as the vehicles for creativity and architecture, but a thorough knowledge of shape, scale, light, proportion, color, texture, materiality, art history, design history and physics makes the designer.
What influence did your parents have on you?
GD: My parents have been my biggest influence, but my mother’s personal journey has become stuff of heroes. With my two sisters under the age of two, my mother immigrated from Venezuela to Canada in 1987, without any knowledge of English or Canadian culture. Through hard times and many personal struggles, my mother graduated with her Master in Education from The University of Ottawa summa cum laude, raised three children and has since evolved into the most sought after Learning Specialist for students with permanent learning disabilities in the province. My mother is responsible for my personal drive and ambition.
Why did you want to move to the US?
GD: Ever since my first visit to NYC I knew that I could see myself living in this city. I love the energy, the eclectic cultures, the food, the arts, the pop-ups and so much more. It helps to know that there are many film productions that want to hire me.
How do you see your career changing in the next 5 years?
GD: I see my role expanding to Art Director with the promise of moving to Production Designer.
Define your style?
GD: It’s hard to have a style when you’re a designer working for a Production designer, because you’re the vessel for the Production Designer’s vision. That being said, I have enjoyed working with John Dondertman on NBC’s Chucky Season 2 and learning his creative process and realizing his vision.
Who would you say influenced you the most in your career trajectory?
GD: There is a community of women in the Toronto set designers scene that have formed a transparent, safe and supportive environment. I have half a dozen friends in the industry who offer wonderful guidance. We are proud to champion one another.
Do you have any tricks of the trade?
GD: Don’t be late, always have a good attitude, know your job description and never lie.
How do you find your stamina?
GD: I don’t drink caffeine so sleep is vital. I practice yoga every morning and do something cardio related in the evening when I return from work. My building has a great pool, cardio and weight room that I frequent. Sitting all day is awful for your body so I use a standing desk for about half of my day. When I’m working on a production, I opt out of the catering and bring my own meals. I’m not a diet person, but I subscribe to the Keto lifestyle that excludes the consumption of sugar and carbs. That being said, popcorn and hot chocolate are the vices that I succumb to regularly. But I make all my meals on Sunday with healthy ingredients and suitable portion sizes.
Are you proud of your work?
GD: I am very proud of my work. I love what I do and I am lucky that it loves me back. I take pride in how much I’ve grown as a designer and leader from my first days on Chaos Walking, and I’m so excited for my journey ahead.
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