American Cinematographer - March 1989 - 76
Top: Eyth's imag¬
inative production
design for the Hollowhead's kitchen,
interpreted to the
exact detail by art
director Mike
Stuart. Below:
Eyth's design for
Grandpa's room,
which ended up be¬
ing laid out more
vertically than
horizontally in the
finished film.
point," Eyth explains, "it was a
matter of trying to keep the theme
established in the sketches
went
through and finalized things.
There
on
as we
were some
decisions made
caused some
set that could've
deviation from that theme if
didn't maintain some control."
"Ed
had
we
continuity
going throughout the film," Stuart
74
a
American Cinematographer
"and it could've gone badly
places - somebody had to hold
the reins because a lot of people
were coming
up with ideas and not
all of them were right for this film.
Eventually everybody understood
what kind of things would work -
with
wonderful
agrees,
came
in
props, that were very appropriate
and very funny."
Once the Hollowhead
everything had to have this useful,
silly edge to it. We had a lot of
talented first-time
March 1989
people who
up
household set
tions became
tion
a
some
was
bit
up,
job descrip¬
fuzzy as produc¬
designer and art director
metamorphosed into set and prop
builders. "The hierarchy on this
show really broke down," Eyth ob-
American Cinematographer - March 1989
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