I studied Furniture Design and Manufacture quite some time ago. I then thought to myself “I can never compete with IKEA” so I took a job in Theatre, designing & building sets.
One day in the workshop I looked down at my hands covered in paint and glue and thought there has to be something better than this.
So I took time out to study film and got myself a job at Rocket Productions as production assistant. I honestly thought I would become a producer but I met a lot of great directors through Rocket and fell back into a creative role. I haven’t looked back.
I believe that my experience in Theatre and Production has helped me to settle quite quickly into the shoes of Production Designer/Art Director and these are the shoes I’m most comfortable in.
I came to production design for film with a lot of experience but I wanted to make a name for myself quickly.
I’ve had to learn fast and trust my own instincts even if it meant sleepless nights.
I’ve been fortunate to work with and learn from great Irish production designers like Paki Smith, Ray Ball and Mark Geraghty and international designers such as Wademar Kalinowski.
My experience in set dressing and event design allows me to balance an image intuitively but Dollhouse gave me the opportunity to integrate my designs with developing characters in a film.
To be privileged to add elements to a story through production design is a very exciting and humbling experience for me and I’m proud to be at this stage in my work.
I’ve always enjoyed working in creative roles. What I love about being a production designer is by working closely with the director I can be instrumental in developing the mood and atmosphere, as well as helping to establish the nature of the characters and to supplement the script.
It’s always been my ambition to create visually stimulating sets, but by assisting the actors – creating a space where their characters live – my work has become much more about developing emotional stimulus.
I fell very lucky to work at something I love so much.