Gregory Van Horn
Art Direction

A Look Behind The Chicago Franchise

Famed producer, Dick Wolf, has said that it’s been a literal dream come true to have his three shows in the Chicago franchise working in concert. The new charter kicked off with Chicago Fire in 2012 and has given birth to a trio of hits. Due to the nature of these emergency based shows, there is a constant need for stunt work. Their chief stunt coordinator, Rick LeFevour has worked […]


A Look Behind American Horror Story: Hotel‘s Hotel

Known for reviving the anthology genre, American Horror Story has risen to the challenge of creating heightened theatrical television. Mark Worthington, the show’s intrepid production designer since season one, has applied his skills to the show’s most extravagant set yet. The “set” in fact is a misnomer, as Worthington and his team designed and built a real hotel: an actual 360 degree world with ceilings on everything. In the story, […]

James Green Sr. and Jane Green
Art Direction

PBS’ Mercy Street

Mercy Street, a Civil War hospital drama set in 1862, is PBS‘s first original scripted series in over a decade. Produced by Ridley Scott (Bladerunner, 1982) (The Martian 2015), and David Zucker (“The Good Wife”), the ensemble cast includes Mary Elizabeth Winstead, who plays Nurse Mary Phinney. Recently widowed, and having had some nursing experience in caring for her sick husband, Mary decides to put herself to some use and […]


Contender – Editor Tom McArdle, Spotlight

For some odd reason, when editor Tom McArdle met director, Tom McCarthy in 2002, McCarthy couldn’t get the editor’s name right and kept calling him “Tim.” Despite the fact that their names sound nearly identical and they share the same middle name: Joseph, McCarthy’s head was in the clouds. No matter. The two Toms have forged a strong working relationship since the film the Station Agent and the profoundly compelling Spotlight is their fifth collaboration. “We’ve developed a style, for better or for worse,” said McArdle. “Our past films were somewhat intimate, often focusing on unlikely relationships. With Spotlight, the story centers on private moments as in the past films.” Some of their other work includes The Visitor (2007), Win Win (2011) and The Cobbler (2014). […]


Contender – Editor Jake Roberts, Brooklyn

When editor Jake Roberts first heard about the movie Brooklyn, he was at first hesitant to take the job of editor, because he assumed the story was about a hipster rom-com. Little did he know it was a Nick Hornby script, based on a Colm Toibin novel, set in the 1950s. But he “quickly re-calibrated, and read the script twice for tone.” The script was incredibly moving and he was also interested in the project, because he was “keen to work on a film from a female perspective and not be typecast.” Up until the movie Brooklyn, Roberts had been working on rougher, somewhat macho films such as Starred Up (2013), starring Ben Mendelsohn as a career criminal and the father of a violent teenager and the disturbing, sadistic movie, The Riot Club (2014). […]


Contender – Editor Margaret Sixel, Mad Max: Fury Road

When director George Miller was looking for an editor to coalesce the wild ride that is Mad Max: Fury Road, he knew there was only one woman strong enough for the job: Margaret Sixel. The woman whose influences were Picnic at Hanging Rock (1975), My Brilliant Career (1979), and Breaker Morant (1980). He knew she wouldn’t be easy to get. She also just happened to be married to him. More importantly, she initially turned the job offer down flat. […]

Art Direction

Contender – Production Designer Inbal Weinberg, Beasts Of No Nation

Growing up in Israel, when production designer Inbal Weinberg compulsively watched movies in high school, it was difficult for her to find any real information on what it would be like to have an actual day job in the film business. So she used her imagination! After attending film school at NYU, she worked with the great champion of independent filmmaking, Hal Hartley, and later served as production designer on Blue Valentine (2010), The Place Beyond The Pines (2012), and The Perks of Being a Wallflower (2012), just to name a few. […]


Emmy Watch: Editor Michael O’Halloran, Outlander

Back in 2009 when Battlestar Galactica was wrapping up its successful series run, executive producer Ron Moore‘s wife, Terry Dresbach, and his producing partner Meryl Davis began talking about a book series they had loved entitled Outlander, by Diana Gabaldon. Two time Emmy nominated editor Michael O’Halloran, an editor on Battlestar, who had worked with Moore previously on Star Trek: Voyager, had worked with Moore on all his projects and was also looking forward to future endeavors. A few years later, when Moore was able to bring the historical fiction to Starz, the team reunited to start another chapter. […]

Emmy Watch

Emmy Watch: Supervising Sound Editor Benjamin Cook, Black Sails

If you are looking for a challenge, look no further than the sound department’s job on the crew of Starz‘s Black Sails. Shot completely on land in South Africa, one of supervising sound editor, Benjamin Cook‘s biggest concerns is “convincing people they’re on the ocean.” Filmed on location at Cape Town Film Studios, the land-locked set fills in for the Bahamas in 1720. Add in the fact that the studio is a mere one hundred yards from a bustling freeway, and “traffic becomes the enemy” shared Cook. “A lot of wind helps mask the traffic issues. It’s a heavily backgrounded show.” You don’t want to hear a motorbike or birds when you’re supposed to be in a battle in the middle of the sea. […]