The Art Directors Guild (ADG, IATSE Local 800) has named production designer Dawn Snyder as its director of education & special projects, succeeding Casey Bernay. The two are currently working together, creating a smooth transition as Snyder takes over officially today (9/1).
Bernay will stay on in a support role and continues to be involved with the Guild as a member of the board of directors and secretary of the Illustrators and Matte Artists Council.
National executive director Chuck Parker noted, “I am thrilled that Dawn Snyder has agreed to take the reins of the ADG Education Program with her thorough art department background combined with her teaching experience. Casey Bernay blazed the trail for harnessing the power of contract services to provide more than just safety training, to the ultimate benefit of not only just Local 800 members, but members of other West Coast locals as well. As Casey moves towards retirement, a seamless transition with Dawn is in the works and the winners will be the members of Local 800 for years to come.”
Snyder said, “After 38 years doing my dream job (as set designer, art director and production designer), I find myself fortunate enough to be able to help craft a program that will educate, strengthen skills, and encourage both current and future members of the Art Directors Guild to succeed in their dream jobs.”
She paid tribute to Bernay for her successful years in the position. The Art Directors Guild has developed, through Bernay, a robust education program which enables members to receive training and develop additional skills related to their work.
Snyder is best known as a TV production designer on shows such as Arrested Development, for which she won an Art Directors Guild Award. Other shows include Rush Hour, Imaginary Mary and the Netflix series Best Worst Weekend Ever. Her set design credits include Geostorm, Lemony Snicket’s A Series of Unfortunate Events, Van Helsing, Armageddon, Gremlins 2: The New Batch, Caddyshack II and Field of Dreams.
Snyder was recently professor of production design at the Savannah College of Art & Design in Savannah, Georgia, and is currently a member of the adjunct faculty at AFI.
Michael Gracey Delves Into The Evolution of “Better Man”
Michael Gracey’s feature directorial debut--The Greatest Showman, released in 2017--garnered assorted honors, including a Golden Globe nomination for Best Motion Picture, Musical or Comedy, followed shortly thereafter by an Oscar nod for Best Original Song (“This is Me”). During the making of that film, Gracey got a chance to connect with a real-life showman, British pop superstar Robbie Williams, who lent some musical support and morale boosting to its star, Hugh Jackman.
Gracey and Williams developed a rapport with one another on The Greatest Showman and kept in touch. They swapped life experiences and Gracey, who clearly knows a worthwhile story when he hears it, became intrigued by Williams--and how entertaining his tales were. Gracey found it remarkable that despite drug and alcohol abuse, Williams vividly remembered so many details of his life.
Given that Williams had a recording studio at his home, Gracey implored him to commit those memories to audio. With that, a routine was born. Whenever Gracey visited Los Angeles, he’d come to Williams’ home where they’d kibitz in the studio and Williams would talk into the microphone, recollecting different aspects and stages of his life. While the original intent was just to get Williams to share and preserve his story, Gracey began chronologically rearranging these audio clips collected over a year and a half, patching together an a spoken mosaic of William’s life. It was during that process that Gracey realized he had the framework for an engaging narrative film.
That narrative took a seemingly bizarre turn as Gracey sought a departure from the traditional musical biopic. What struck Gracey was Williams referring to himself repeatedly as “a performing... Read More