Charmian Adams, Art Director
Charmian works predominantly as a Supervising Art Director, but also designs lower budget projects such as The Inquisition (dr: Betsann Morris Evans) She has worked on many projects including Proof (dr: John Madden) Hilary and Jackie (dr: Anand Tucker), The Hound of the Baskervilles (dr: David Attwood) and State of Play, a 6 part drama for the BBC.
In your own words briefly describe your job.
I aid and abet the production designer in order to achieve his/her vision of the film from the script.
How did you get into the industry?
I studied to be an architect and wanted to change my course to theatre design. Once I'd completed that I then went to see the head of the BBC design department and was offered a job, which I accepted.
If you had to start again, would you do anything differently?
Not really. The route I chose to take has stood me in good stead for the career that I now have.
What training have you found most useful in advancing your career?
My architectural background has been invaluable in advancing my career. Also, on the job training increases your knowledge base, not only in terms of designing or creating a specific look but also in making you a better person to work with.
What was the best career decision you ever made?
I went to Brighton Art School which was a crucial decision as it was the starting point of the career I now have.
What was your luckiest break?
My luckiest break was getting involved in a production that had a highly talented Production Designer and being able to work and learn alongside them.
How do you keep up with developments in your field?
The best way for me to keep up with any changes or developments in my department is by watching other people's work. Watching films regularly is the only way to do this and something that people often forget to do once they are working in the industry.
What advice would you give to someone just starting out?
You need to get the skills needed by your intended department. If it is the art department you are interested in you must learn to draw. Too many people try to get in without having spent enough time doing technical drawing. It is crucial to be able to do it well.
How has the industry changed since you first became involved in it?
Firstly, there is now no need to get union membership so that has meant the industry is consequently less structured.
Secondly, there have been significant moves forward in the technology which is available to us, for example, digital imagery. This is fascinating but can sometimes create problems. People will need to be trained specifically in these areas from now on.
And finally, we are now paid less and have considerably less prep time. For art departments, this means that you have to work longer hours to create things in half the time, on a lower budget than you need for no extra money.
What do you see as the three most important qualities required to succeed in the industry?
An obsessive nature. Not prone to panic. The ability to think on your feet.
In your own words briefly describe your job.
I aid and abet the production designer in order to achieve his/her vision of the film from the script.
How did you get into the industry?
I studied to be an architect and wanted to change my course to theatre design. Once I'd completed that I then went to see the head of the BBC design department and was offered a job, which I accepted.
If you had to start again, would you do anything differently?
Not really. The route I chose to take has stood me in good stead for the career that I now have.
What training have you found most useful in advancing your career?
My architectural background has been invaluable in advancing my career. Also, on the job training increases your knowledge base, not only in terms of designing or creating a specific look but also in making you a better person to work with.
What was the best career decision you ever made?
I went to Brighton Art School which was a crucial decision as it was the starting point of the career I now have.
What was your luckiest break?
My luckiest break was getting involved in a production that had a highly talented Production Designer and being able to work and learn alongside them.
How do you keep up with developments in your field?
The best way for me to keep up with any changes or developments in my department is by watching other people's work. Watching films regularly is the only way to do this and something that people often forget to do once they are working in the industry.
What advice would you give to someone just starting out?
You need to get the skills needed by your intended department. If it is the art department you are interested in you must learn to draw. Too many people try to get in without having spent enough time doing technical drawing. It is crucial to be able to do it well.
How has the industry changed since you first became involved in it?
Firstly, there is now no need to get union membership so that has meant the industry is consequently less structured.
Secondly, there have been significant moves forward in the technology which is available to us, for example, digital imagery. This is fascinating but can sometimes create problems. People will need to be trained specifically in these areas from now on.
And finally, we are now paid less and have considerably less prep time. For art departments, this means that you have to work longer hours to create things in half the time, on a lower budget than you need for no extra money.
What do you see as the three most important qualities required to succeed in the industry?
An obsessive nature. Not prone to panic. The ability to think on your feet.
