adam stockhausen interview

“We were looking at all kinds of stuff, from Ernst Lubitsch’s Saxony, in Germany, provided many of the key locations, including the film’s stunning centrepiece hotel, which is represented in both the 1960s and 1930s. From there, my job was to fill in the bits in between that don’t exist anymore in a way that makes you believe they never disappeared.A. “When those tricks work, it’s a lot of fun.”The riotous on-screen delight of Anderson’s films also permeates life on set, says the production designer. We held each other up (he held me up more) on ‘Darjeeling Limited’ in India, and by the end of that I knew he was destined for great things.”Stockhausen conveyed a “Goya-esque” horror and beauty in McQueen’s “For “The Grand Budapest Hotel,” Stockhausen wholeheartedly embraced the handmade, analog world of Eastern European opulence. We spoke frequently and shared photographs to point out what colors each of us were planning to use so we didn’t double up.A. We also looked at a ton of Photochrom postcards, of old railway hotels in Europe, in somewhat obscure places. Adam Stockhausen (Production Designer) won an Oscar® for his work on Wes Anderson’s “The Grand Budapest Hotel.” He was also nominated for his work on Steve McQueen’s Oscar-winning film “12 Years a Slave.” Among Stockhausen’s other credits are “Moonrise Kingdom,” “Scream 4,” “My Soul to Take,” “The Switch” and “Every Day.” This was definitely a couple of notches harder and intensive, just on the sheer scale of it, but we did have a great team and great collaboration with production designer Adam Stockhausen. The following post contains a roundtable recap of our discussion with writer/director Wes Anderson and production designer Adam Stockhausen. The first wall went up quickly, and as a result, the construction was very rough and simple with no foundation. Anderson's Oscar-winning production designer Adam Stockhausen teases their biggest project to date. He was also nominated for his work on Steve McQueen’s Oscar-winning film “12 Years a Slave.”Among Stockhausen’s other credits are “Moonrise Kingdom,” “Scream 4,” “My Soul to Take,” “The Switch” and “Every Day.” As art director, Stockhausen’s credits include “Stockhausen was born in Milwaukee, Wisconsin. We also used locations in Manhattan, including the Federal Hall Courthouse in Foley Square.In Germany, Messe Berlin, which is a sort of a fair park/convention center site, was used for the Hall of Trade Unions in Moscow where Gary Powers’ trial actually took place. DnA talks to Adam Stockhausen, production designer of The Grand Budapest Hotel, about creating the whimsical details of the film. “We all stayed in the same hotel and ate a lot of our meals together. On this quick a schedule, we couldn’t deal with going to a real train station in the middle of nowhere and renting a period train.“It’s the kind of thing where you’re crossing your fingers and hoping it all works out, which it did,” he continues. It’s a really great atmosphere.”As for Stockhausen, his reputation continues to soar.

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adam stockhausen interview

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