VERMONT VOICES
David ( cont .): crucial information about what they want to do with the film . Almost every director we ’ ve worked with also wrote the script for the projects that we worked on , so we ’ ve been able to get our artistic direction cues straight from the horse ’ s mouth .
Sherman : Designers often help directors figure out the practical solutions to accomplish their vision . Were there any instances where Quentin had ideas that he hadn ’ t resolved - and you came up with solutions that worked really well ?
David : When we were working on Kill Bill : Vol . 2 , we had to figure out how to do a scene in which Uma Thurman burst out of the ground after being buried alive in a wooden casket . To solve the problem , we built a 30-foot-high glass wall that was cut in half and surrounded by “ dirt ” on the other side , so we could show the casket
on camera . It was like a huge ant farm . To show her escape , she was essentially lifted by wires and was able to “ fake claw ” her way through the earth . The “ dirt ” was actually crumbled cocoa puffs . It was also very difficult to figure out the theatre fire scene in Inglourious Basterds , because we were working with real fire , not CGI fire . To be able to do that - while keeping the actors safe - was a challenge . We did many takes in the auditorium , which we built as a set for Inglourious Basterds , and the exterior of the French cinema also had to blow up with real people inside , without anyone getting hurt . I like to take some of the credit for the planning , but we worked closely with the physical effects group to make it happen .
Sherman : The Quentin Tarantino films that the two of you have worked on have incredible sets with phenomenal details . Earlier on , I heard Sandy mention the importance of lighting treatments , window treatments , and other significant set decoration details . Can you talk about some of your favorite set elements and decorative touches from the Tarantino films that you worked on ?
Sandy : When we were working on Pulp Fiction , I determined that each set had to have contrasting colors . I wanted the color shifts to be dramatic enough so that when you went from the dope bust apartment to Butch ’ s boxing scenes , you would be able to really notice the difference . The house of the character that Quentin played in Pulp Fiction , Jimmy , was also a tough space to design . It was the only set that had wallpaper in it , which was a deliberate decision . We wanted to design a set that would emphasize the fact that his wife was the scariest thing in the world to him , even though he was surrounded by bloodthirsty cohorts .
So much to explore at Hildene : Twelve miles of trails ; Hildene Farm , goat dairy and cheesemaking facility ; Robert and Mary ’ s 1905 Georgian Revival home and “ The American Ideal ” exhibit ; 1903 Pullman railcar “ Sunbeam ” and “ Many Voices ” exhibit ; The Museum Store
1005 Hildene Rd , Manchester , VT 802.362.1788 | hildene . org
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