Construction Coordinator & Production Designer
VFX Art Director / Art Director
Claire Fleming is an outstanding film sector’s artist from London, United Kingdom. She has
been working in art departments of films for over ten years. Her career achievements are
astonishing as Fleming has been working with such films like ,,Star Wars: The Force
Awakens” (2015), ,,Sherlock Holmes: a game of shadows” (2011), ,, Jason Bourne” (2016)
and many others. Her latest movies are just about to come – she has been working as visual
effects art director on ,,Ready Player One” (2018) directed by Steven Spielberg and as art
director on ,,Tomb Raider” (2018) directed by Roar Uthaug.
Fleming had an opportunity to collaborate with some of the best professionals and has been
improving her skills in most successful movies. ,,I have had the pleasure to learn from some
of the most talented film makers in the industry. Paying attention to every department and
absorbing knowledge inspired me to grasp new technologies and techniques applying
software advances from VFX and using them early in pre production to help aid designers
and directors to see their visions come to life before the camera rolls“, - explains Fleming,
proving her sophisticated approach to every single assigment she gets.
Special Effects Supervisor / Art Director / Production Designer
Eggert Ketilsson is a well-known production designer, art director and a special effects supervisor. He was born and raised in Iceland and after ten years of film work he went to study at the The Northen Film School, in the United Kingdom, where he got a production designer´s post graduate diploma. Today Ketilsson is one of Iceland’s most experienced artists in the world of cinema.
At the beginning of his career, Ketilsson worked a lot with movies closely revealing nature, such as „Devil‘s Island“ (1996) ,,On Top Down Under“ (2000). Later his work led him to many other well known movies and today his filmography impressive.
His latest job as supervising art director on Christophers Nolans ,Dunkirk” (2017), is the third film Ketilsson works on with Nolan. The first movie was ,,Batman Begins” (2005) – where a part was filmed in Iceland. Ketilsson joined as the art director of this part and that is how he came to know Nolan and his designer Nathan Crowley. Some years later Nolan and Crowley scouted Iceland for the planetary locations for his film Interstellar (2014) and asked Ketilsson to join as the art director for the planet section of the film. His experience of working with sets facing the elements of nature, play one of the reasons Nolan wanted him to join ,,Dunkirk” that was released recently and is already mentioned as a masterpiece.
Besides his good collaboration with Nolan, Ketilsson has worked on other well known movies, such as ,,The secret life of Walter Mitty” (2013) directed by Ben Stiller, ,,Lara Croft: Tomb Rider” (2001) directed by Simon West, ,,Prometheus“(2012) directed by Ridley Scott, „Rouge one“ (2016) directed by Gareth Edwards , „Flags of our fathers“ (2006) directed by Clint Eastwood, Journey to the Center of the Earth“ (2008) directed by Eric Brevig and many other well known titles.
Production Designer / Art Director
Since she graduated her BA in Fine Arts at Exeter College of Art & Design, Fleur Whitlock has
started moving forward to the strange depths of cinema, developing her professional skills.
She begun with an opportunity to work for Forkbeard Fantasy, an incredibly innovative
theatre company, which included videos & films into their shows. She earned her
trustworthy reputation after working on some of the most well-respected TV series
including “Inspector Morse”, “Love Hurts”, “Kavanagh Qc”, “The Lakes”, 40 episodes of “The
Bill” and others. Fleur Whitlock has a unique know-how, which she has been building up
while working around the globe with a variety productions. This inspiring list includes BBC
drama documentary series “Discovering Ancient Egypt” filmed entirely on location in Egypt
and “Krod Mandoon & Flaming Sword of Fire” shot in Budapest for Comedy Central.
Geography of her work places expands to South Africa, Namibia, Russia, Slovenia, Italy and
Romania. Perhaps the most challenging of her foreign assignments was to design
domestically produced soap opera Kazakhstan modelled on the BBC’s “East Enders Her
feature film experience is also stunning, covering such diverse productions as “Churchill: The
Hollywood Years” directed by Comic Strip creator Peter Richardson, “Love & Death On Long
Island” and an adaptation of “Heidi”. Also the epic “10,000 BC” directed by Roland
Emmerich. As Supervising Art Director on “The Libertine”, starring Johnny Depp, John
Malkovich and Samantha Morton, Fleur Whitlock had a task to recreate a 17th Century
Restoration theatre and many period sets on location. For so many times she and Grenville
Horner had been working together on long and short length BBC projects, comedy and
Fleur Whitlock is also acknowledged as a skilled academic, regularly running Production
Design modules at the London Film School and has taught technical drawing at Wimbledon
School of Art.
We suggest you to check Fleur's IMDB profile.
Grenville Horner is a true professional of production design field. Before going freelance to
work across film and television, he graduated Royal College of Art in London and had a vast
experience working for the world’s biggest broadcasting service - BBC. Grenville Horner’s
portfolio is rich and extensive, proving his eternal passion to build completely new worlds.
His features include Bob Sprier’s “Spice World”, “My Son The Fanatic” with director Udayan
Prasad, “Ali G In Da House” for Working Title Films and Mel Smith’s “Black Ball”, starring
Rhys Iffans. His television credits include a three part period drama adapted from the novel
by Patric Hamilton “20000 Streets Under The Sky” and three series of “The League of
Gentlemen”, which brought him a Royal Television Society Award for the Best Production
Design. Prior to designing “Alien Autopsy”, Grenville worked on “Blackpool” for which he
received BAFTA nomination for the Best Production Design again.
Grenville Horner is highly successful, working on BBC series - designing for “Jane Eyre” mini-
series resulted in Emmy Award for the Best Production Design in 2007. His project list is
endless with serious and acknowledged movie titles. Recently he has been working on
“Episodes”, “Rev”, “The Syndicate”, “The Harry Hill Movie”, “The Eichmann Show” and
others. Nevertheless, this great production designer is looking forward to share his intense
experience with the younger colleagues of the art department field.
We suggest you to check Grenville's IMDB profile.
Born in Eritrea, brought up in Kenya and Arabia, Jon started his working life back in Britain in the 60's first as an Aeronautical Engineer before becoming an Architect. A chance encounter introduced him to the world of films, first in Special Effects in the mid 70's (before the era of CGI), where he rose to become a SFX Supervisor, gaining a Saturn nomination for his work on Terry Gilliam's 'Time Bandits'. Because a lot of his work involved designing tricky things and providing concept art, he found himself being asked more regularly to work as an Art Director by a few Directors, and much preferred this aspect of film making. After designing numerous award-winning commercials, he was asked to design his first film in 1986, and has not stopped since, gaining a BAFTA nomination along the way for 'The Woman In Black'. Jon has designed films ranging in budget from under $1million to over $100 million, and thinks himself so fortunate to be able to immerse himself in a job he loves, particularly enjoying getting involved at a very early stage with scripts and ideas. He is a regular concept designer for Directors such as Ridley Scott and Alfonso Cuaron. Despite being asked to direct several times, he always returns to his first love of design, although he still occasionally directs second unit, particularly if it involves interesting FX and stunts, and his knowledge of Post Production, particularly CGI, has become an increasing part of his work.
Production Designer / Architect
László Rajk believes that every architect must try designing film sets, because they would
learn the most important thing: how to cheat with perspectives, with lines and with forms.
Only then one can design any world he imagines. This is what he teaches his students about
at the University of Theatre and Film in Budapest.
His personal story itself reminds of a good movie. László Rajk was a human rights activist,
co-founder of an underground publishing house, owner of an illegal bookstore, a former
parliamentarian, a devoted architect and a Hungarian avantgarde member. His priceless
experience allowed him to realise striking and unconventional architectural projects as well
as to take a part as a production designer or art director in more than 60 film sets.
In 2015 László Rajk’s designed feature movie “Son of Saul” was introduced to the global
community. So far, it has received 37 awards and 34 nominations, including Golden Globe in
the Best Motion Picture-Foreign Language Film Category for Production Design and Oscar
for The Best Foreign Language Film. In that year László Rajk received the Art Directors
Guild Honors - excellence in production design for a contemporary feature film: The Martian
directed by Ridley Scott.
László Rajk does not distinguish film directors by their achievements and as an artist rooted
into avantgarde, he often chooses to work for independent cinema and projects of early-
stage filmmakers. At the beginning of his carrier, he worked as an art director with Costa
Gavras movie “The Music Box”, and twenty years later with the one of the most
acknowledged Hungarian director Bela Tarr on his last two movies “Man from London” and
“The Turin Horse”, but was the production designer for the very first movie of László Nemes
“With A Little Patient”. With László Nemes they recently finished shooting “Sunset”, which
takes place in 1913 in Budapest.
He is acknowledged Polish production designer, who worked with the world-known directors such as Steven Spielberg and Roman Polanski. Allan Starski has more than 40 movie titles he worked with as the production designer. The credits of his films are simply mind-blowing: “The Schindler’s List”, “The Pianist”, “Escape From Sobibor”, “Euro Trip”, “Oliver Twist”, “Young Hannibal”, “The Cut”, “Europa, Europa” and the endless list of others. Allan’s talent and experience are invaluable. His mastered work and precise skills did not go unnoticed. Allan Starski’s undeniable love to the film making has been rightfully recognized by the international community. On his shelves one can find Oscar, Emmie, BAFTA, Los Angeles Film Critic Association’s, French “Ceasar” and Polish “Eagle” awards. Obviously, he is a person, who does not lack professional advices, helpful insights, inspiring experiences and true talent. Allan Starski believes that the mission of the set design is to make a viewer believe in the authenticity of the world that appears in front of him. “Even if the world is science fiction, it still has to look real” - says Mr. Allan Starski and we just cannot agree more. “And in primary school I planned not to go into my father’s footsteps. I ended up at the Warsaw Academy of Fine Arts [...] convinced that I would never work in the film industry. After graduating I finally realized that all this time I was battling with myself”
CLAIRE NIA RICHARDS
Being from a small town in Wales Claire Nia Richards always dreamed to broaden her horizons and spread her wings. Though she studied Film and Photography and specialized in photography, today she is a remarkable person in the entertainment industry and a professional Set Decorator. After finishing Playmouth College of Art, Richards went to London with an intention to find a job in film production companies. Her desire was soon fulfilled as she was taken on as a runner by Carnival Films. “My first love was with drawing and being creative. I knew little of the Art Department until the Producer let me flee the nest and I started on one of his TV Dramas. This was the beginning – a long hard slog of insane hours and at times unsavory conditions and locations – but I was hooked” – Richards remembers early days of her career. Throughout artist’s experience, she has worked with some incredibly talented people on stunning projects - she has been highly involved in commercials, movies, TV projects and dramas. Over the years, Claire Nia Richards has more than 20 movie titles where she worked in art department mostly as set decorator or as an assistant set decorator. Among most known movies one can find "Star Wars: Episode I - The Phantom Menace" directed by George Lucas, "A Bunch of Amateurs" directed by Andy Caddiff, “Sherlock Holmes: A Game of Shadows” directed by Guy Ritchie, “A Little Chaos” directed by Alan Rickman, “The Theory Of Everything” directed by James Marsh and many more. In 2015 Richards was nominated for an award at the 19th Annual Art Directors Guild as a set decorator for “The Theory Of Everything”. Considering the industry Richards has chosen, she says it is tough at times but incredibly worthwhile. “I feel privileged and grateful to those who believed in me and gave me the opportunity to develop and grow”.
Production Designer & Art Director
Paco Delgado is a world famous costume designer from Lanzarote, Canarian Island. At the beginning of his career, Delgado used to design theater sets, but today he is internationally recognized in film industry. He has collaborated with directors such as Pedro Almódovar, Alejandro González Iñárritu, M.Night Shyamalan, Tom Hooper and others. His exceptional talent in designing has been awarded many times. He was nominated for an Oscar and a BAFTA for his work in “Les Misérables” in 2013 and, and won two Goya awards in 2013 and 2014. In 2016 Spanish designer was nominated for an Oscar once again – this time for creating fabulous outfits, some of which were transgender, for “The Danish Girl”. Delgado is also recognized for his work on the 2010 film “Biutiful” starring Javier Bardem and the 2011 film “The Skin I Live In”, directed by Pedro Almodóvar.Delgado has a serious approach to every assignment he has been given. Instead of just designing the costumes, he strives to reflect the development of the character through them. According to the designer creating for film industry is always a complex process between actors, directors, audience and himself. In one of his latest interviews about creating for “The Danish Girl” Delgado wonders how many people think that the costumes just appear on set by miracle, or the actors bring them from home. ,, Costume design is a very artistic process. […] Nowadays is just us, that we work for shows and haute couture—we are the only people I think probably in the world that we still do costumes in a crafty way”.