Ep 7 | Grant Major - Production Designer: Lord of the Rings Trilogy, King Kong

Mike: Hello and welcome to Red Carpet Rookies! My name is Mike Battle, a film production junior working for studios in London. Each episode, I bring you advice and stories from film, tv, and content professionals to help demystify and democratize the industries for juniors and fans alike. Thanks for joining me, let’s get started Today’s guest is Oscar winning production designer GrantMajor. With career beginning in New Zealand on films such as PeterJackson’s Heavenly Creatures and Jane Champion’s An Angel at My Table. Grant gained wider recognition after being the man behind the unforgettable sets of the Lord of The Rings Trilogy as well as King Kong, X-MenApocalypse, and recently, the live action remake of Disney’s Mulan. Grant joins un now from New Zealand, how are you getting on?

‍Grant: Well, thank you. It’s a sunny day here, so yeah good stuff thank you.

Mike: Lovely, I’d like to start in the beginning, with what did you parents to and did it affect your career aspirations growing up in New Zealand?

Grant: Um, well look having spent a whole life doing the arts and creative things, my parents didn’t do that at all. I’m pretty old now, I’m 65, so way back then when they affected my life a lot more my dad was a banker andmy mum was a secretary. They were both fairly artistic people In their own sort of amateur ways. My dad was a very hands on, he fought in the second world war, learned a lot as an engineer. Used to make all of our birthday presents andChristmas presents for the whole family. So, he used to make all that stuff. My mom, before this big consumer thing that were in literally, they used to make our clothes, knit our jerseys, be hands on sort of crafts people and I can’t help thinking that that had a pretty mental influence on my life in some ways. I still have these hand drawn illustrations that they did in their spare time around the fireplace. Listening to the radio you know before TV days. So, they were artists in their own way but I was particularly fortunate to be able to make a living out of it and make a career out of the arts. I really value that heritage really, even though they didn’t encourage me to go to arts school in facts I think they were a little suspicious of it.

Mike : Yeah, you mentioned art school, and I know that you initially trained in graphics. Back when you were doing that, did you have dreams of the film industry.

Grant : No not at all actually, interesting that New Zealand was probably half the size population size, then what it is now, literally 50%smaller. We didn’t have a film industry we didn’t it was like an alien concept in many ways. This can be a little ingenious, probably when I was in art school, they were making 1-2 films. But it was not an industry as much as a sort of boutique on off kind of thing. So, I didn’t aspire to come into the film industry. I was encouraged to find an artistic career than would find me money. So, I studies graphics which was a pretty well established thing back then. I was only laterally that I stumbled across this idea that you could make a living in this live performance sort of thing. Yeah, I did really well in graphics and I do carry a lot of skills with me now. They were very valuable, especially in the early part of my career.

Mike: Was it graphics that took you into work at the BBC inEngland, or was that another pursuit?

Grant: No no, in between things interestingly back then when you were at art school when I was at art school. They guaranteed you a job after graduation. At the end of your exhibition there were people that were looking for people with our skills. Particularly in the advertising industry. I was never that alarmed by the thought of entering into the advertising industry. I did accept one with the local TV station. Tv South Pacific television which has now been amalgamated into a main sort of TV thing here. So, I went straight from doing graphics which is essentially a 2d discipline into a 3D world of doing sets. I really flourished during that,I really loved it. I did aspire of going from my graphic arts school into doing fine arts. I took on this job at TV to, it was a gap year in a way. To be able to go and do fine art. But I never went and did the fine art. I just stayed with set design, I was an assistant set designer at this TV station. But of course, in the scale of things, I was sort of thrown in the deep end really, within three months I was designing a movie way down the bottom of the south island, a shipwreck and with model photography, location filming, and studio sets. Here I was several months out of art school.

Mike: Do you think throwing people into the deep end is a good way to manage the department general, would you do that with your juniors now?

Grant: Yes, and no I mean I do value a lot that sort of responsibility that was given to me very early on. That’s not to say I couldn’t do the job well, I was mentored by the senior people in the department. It was a little bit of both, New Zealand is a relatively small country. We don’t have a structured sort of thing like you have inEngland where there’s a lot of people competing for the same jobs. You have todo this little work before you can go onto the next level, and the next level and the next level. So you just sort of have to leap frog a lot of those intermediary sort of things. Which is good in one sense and bad in another because you don’t get the sense of doing these intermediary things. So, and that sort of affected my career. I was getting a lot of responsibilities young, at least I considered it to be so. And, just learning on the job, you learn by your mistakes as much as your successes.

Mike: To go back to the theatre thing you were talking about, I find it interesting that you were a young Keely in London at the time. What was it like dealing with some of the old theatre dwellers, and learning your craft there?

Grant: It was the most incredible experience, you know I say that Idid pretty well in my New Zealand TV things, but nothing compare to the BBC which was fundamental it was like my apprenticeship, I like to say it was my apprentice ship, really. I went back to the beginning again, restarted. They actually taught me how to draft sets properly. Because the drafting process there, I went in as a holiday drafting designer and they taught me how to draft properly. I mean, I had learned drafting when I was in secondary school, so I could do it. But, the BBC the drafted set plans are like contracts. When they send these drawings out to construction companies and stuff like that, they have legal ramifications to them. So there’s a formality to the way these drafts were designed and a good learning curve for me. I just spent, because I was on my own in England, I didn’t know anyone over there, I just spent all of my time at work. Every moment of my life was really to do with concentrating on learning how to do this. It was a really great way to do that, and along with that there was like a 100 people in the design department at the BBC. Which was huge for me. Not all designers, the bulk of them were designers, and assistants what have you. But it was set decorators, prop people, and there was the design department library which had researchers and all that sort of stuff. So, I ended up specializing in period drama which there was a lot of back in the early nineties. So I would go to the library and get are search or two on a particular place and time period was pretty new for me. That depth and that scale that brilliance of people. There’s a lot of brilliant people as well who are like the primo production designers now. A lot of them started in the BBC.

Mike: And then how was it that you moved from that into doing some smaller shows in New Zealand, for example an Angel at My Table?

Grant: So rather being excellent in design, I ended up being in NewZealand. At that time, a lot of my friends had swayed into film, so all of a sudden, now there’s this vision in sort of film business that was sort of on the back of the tax bracket actually. It was sort of a wild whist sort of era the1980’s in New Zealand. We did make films, and they were a lot of fun, again a learning curve for me because I was able to step from being an assistant set designer at the BBC to being an art director. In new Zealand we call it a standby art director, and then supervising art director, and then by the time anAngel at my Table came along, it was my first production design feature film I ever did. You know, so I sort of worked myself through the New Zealand system, rather than working at the BBC. I was also doing things that were not film related. I was doing the New Zealand pavilion for Australia and in Spain I design the open and closing ceremonies for the commonwealth games in NewZealand. Sort of tourist destinations as well, I was sort of doing film and other stuff you could say.

11:43 Mike Battle:

It does seem that you are quite a jack of all trades because I also noticed you have a concept artist credit on your roster. Do you feel that production designers also need to be able to do design originally like that or is it enough to be able to weave the talents of others together to create a film’s production design.

12:00 Grant Major:

Absolutely you know, I came from graphics as you’re aware. So, I knew how to paint, draw, and sell ideas because that’s what it’s all about. This concept is like getting these ideas out of you head and named as physical thing. It’s a really interesting process, and I really enjoyed doing it myself.

But, there’s just no time to do it now, you know the amount of concept word that’s done. Which is sort of fundamental to the concept design process now, is very important. I need to do a lot of them, I don’t have time to do it anymore.

I do sketch and give it to illustrator. But essentially new kids now are so great at what they do, there’s a lot of programs like photo shop and rhino, and all these sorts of things that have sort of left me behind a little bit. I struggle to keep up with these sorts of things, and coming out of arts school, they are so much more proficient at it.

I really value the skills that they bring. It’s a collaboration process with concept artists. I do as much pre-sketch and stuff that I can and then I sort of massage it as it goes through. But sometimes an artist comes up with something that I never would have though of, and looks so much better than my imagination, so it’s a two way process.

13:30 Mike Battle:

It’s a difficult question to answer because you mentioned that often things happen by accident and it’s hard to have them planned out. But it sounds like if you were speaking to young Grant now you would say the way for people to get into your department is to get amazing at things like Myer, is that your opinion?

13:42 Grant Major:

What now it is, if your talking about getting into the department that’s one thing, if you’re talking about becoming a production designer, that’s something else. Definitely coming into the industry now with those skills, those computer skills, very very important.

The day to day we product things, not just for concept design, but for set design, cutting files, and etc. It’s a three dimension medium, it’s valuable, it’s a different sort of go to thing.
In terms of production design, it’s more than just a tool you know because those are tools really. But you have to learn 3D design, you have to learn about film, you have to learn about cameras, you have to learn about good designers, what’s fashionable and trending and all that sort of stuff.

It’s more than a drawing board.

14:46 Mike Battle:

Fantastic, we’ll be back after the break.

Lord of the Rings must have been a turning point for you. Did you know at the time that it would be?

14:56 Grant Major:

No, yes it was a turning point oh my god. It was like life turned on a dime from that moment. At the time we were making it, no, it was a big film to do. Big challenge to do, it was all the other expectation, essentially it was a New Zealand show.

With this incredible book to bring to life, and the responsibilities of that, and the jeopardy, and trepidation. Having something as important as that to bring to life. I was completely unprepared for the sort of post world that that brought on.

I still interestingly have people come and be like Grant, Grant we want to do another Lord of the Rings, and I’m just like god how often do I do this. So much of Lord of the Rings has got to do with the original material, you know?

It can’t just sort of create that out of thin air. It’s the whole sort of literary heritage of the thing.

16:08 Mike Battle:

You’ve spoken about the importance of Lord of the Rings to many people and things. Obviously the hobbit and set you designed with Peter and everybody is now one of the most famous landmarks in New Zealand.

How does it feel to be someone that had influenced culture in that way.

16:23 Grant Major:

Yeah, well it’s incredible it’s a bell that keeps ringing, it just sort of affected New Zealand in a very large way, as you can expect. The tourist industry grew by 40% after Lord of the Rings. People around the world for a moment in time recognized New Zealand as a country that wasn’t a part of Australia.

And, so often it didn’t even appear on world maps like news programs, New Zealand often wouldn’t even be bother to be put o the world map. So, it was a moment In time where New Zealand was a good place to be from, so it was good.

But, I must say, there’s no clearance on the hobbit set down south. I’m sure it was probably part of the lord of the rings things, but I think in a way its New Zealand’s achievement, not mine which is very cool.

17:32 Mike Battle:

It’s very cool, I must say like Lord of the Rings and King Kong could be described as a production designer’s dream. What has been your favorite use of the massive creative freedom you had on shows like that?

17:43 Grant Major:

You know it’s interesting because, having done Lord of the rings, I have pigeonholed into a fantasy sort of role. Specifically, so early on. I’m certainly seen to be someone who do these big production design kinds of things where things are made. We make everything, lots of high production value visual. So, that’s been great.

Couldn’t be better for a production designer. I feel even in the 20 years ensuing it I’ve gotten even better at it. It’s a huge achievement King Kong, Lord of the Rings it was also done in the Peter Jackson kind of camp you know. And I was quite keen to get out into the world after that and see if I was any good.

Was I any good or was it just Peter Jackson?

So, It’s been a journey there’s been some hits and misses along the way. So I have really valued that heritage of people being able to hire me because I am able to do these big productions. It’s been great.

19:03 Mike Battle:

Would you say there’s a world that you know in your head that you’ve neve done that you’ve never done that you’d really love to create? Like a favorite book or film or something I don’t know.

19:09 Grant Major:

Yeah, I’m always sort of really ambitious to do more because these a sort of a science fiction thing which I haven’t done yet. There are these worlds that are quite conceptual and throws of certain cinematography and cinema that can be quite big production jobs. That’s what I’d like to do one day.

But, when it comes to choosing projects. I’ve not necessarily fallen to that. That’s not my highest priority, my highest priority has to do with story line. Are there good characters, is it something that I’d bother to spend twenty bucks on and go to the cinema to see? It’s more important to me than just the bells and whistles.

20:04 Mike Battle:

Absolutely, I was going to say, have you ever had a set that Peter Jackson, or anyone proposed to you that you genuinely thought couldn’t be done because it was so big, or whatever?

20:15 Grant Major:

Yeah, I don’t think anyone’s proposed something that couldn’t be done, but it’s to do with the degree of digital extensions that it would be, Films now are getting confident to create environment that are beyond the realms of just being able to create. It’s a double edged sword I think. But, it’s a I’ve continually been asked to do things that I’ve designed, that I’m never would have made.

But, it’s one of the critical things these days, CGI world is taking over like colonizing the production design. It’s very important to me that the world is being created by the production designer.

And so, be there is entirely visual affects things, or partially visual effects, entirely a set, it’s part of the design of the film. I don’t think anything been asked, I don’t think I’ve been asked to do anything impossible.

Sort of difficult yes. You know, I do get anxious a lot of times that I will be able to pull off something well. It’s a part of a business, being challenged is good, doing new things is good. Doing things that haven’t been done before is good, so bring it on.

21:46 Mike Battle:

In one of the interviews I read during my research I saw that you said that you appreciate the micromanage of Kubrick and people like that. I find that interesting, because even I hear HOD’s battling for that. So what’s you opinion, and do you think there’s a balance in the middle?

22:00 Grant Major:

Yeah, there’s a balance, I think when you know thing become too micromanaged, there’s spontaneity is lost. The sort of change things can be lost. But at the same time, who wouldn’t micromanage with Kubrick, and who wouldn’t micromanage with Peter Jackson, Jane Campion have you, all these sorts of micromanagers.

Getting what they want is really, really important. I think that films and projects generally that require on a committee to do this or that where there’s too many managers it’s nearly compromising for the film.

The more singular personality that they have will be better. So, I’m very much in favor of that. Of course, I like to contribute, It’s a collaborative project, and 90% of it is collaboration. Maybe 10% of it is dictate.

So, I respect strong creative directors.

23:15 Mike Battle:

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We touched on it earlier talking about the importance of Lord of the Rings as a subject matter and things.

But, I’ve got a rather big question for you. In regard to big films like Mulan and Emperor do you feel the expectations of a nation to some extent when you’re designing those sets.

23:56 Grant Major:

Yeah, cause by nature of being in New Zealand I don’t know if this interests the wider listening public who are listening to this. But in New Zealand, it’s a small country, we do pride ourselves in doing quality things.

We try to aim high for our small population I think we do really well. The film industry is part of that picture. We like to present ourselves to the world as can-do kind of place.

So, yeah when it comes to doing things like Mulan there is an expectation form the country. I have to say when you’re doing these sort of productions, there is a bit of secrecy, so they don’t really know what is going on until the thing comes out and usually when it comes out it’s enormous.

So, I guess everybody today. Interestingly enough, today is the opening day of Mulan. So, everyone Is waiting for the reviews to see if the things any good or not, you know.

But at the same time I thin seeing New Zealand on the big screen. Usually as another time, another place, another planet, whatever is kind of what it’s all about. I think seeing New Zealand doing well is a thing, people are proud of it, and I’m proud to be a part of it too.

25:28 Mike Battle:

That’s fantastic, further on the theme of pressure, was there a feeling on Mulan of having to live up to the pressure of the original?

25:33 Grant Major:

Yeah, yeah there was a feeling for that. The animation was pretty successful, I love the style of it, everything about it was really really cool.

We weren’t remaking the animation we were remaking the story of Mulan. It’s still a Disney thing so there was a bit of a framework. Sort of a stylistic thing, yeah Mulan itself is a story itself that has been told many times, a really ancient story. It goes way back; they don’t even know when it was written. But it was definitely the Qin dynasty.

It’s very old, it’s a Disney version of it. It’s going to be colorful, and adventurous and sort of a family oriented sort of film.

26:29 Mike Battle:

I noticed that from Memory and Desire 98 to Mulan now, your director Nicky Caro must have seen everything that Hollywood has to offer positive or negative. How has that affected your relationship and do you feel a bond as Kiwi collaborators through it all?

26:43 Grant Major:

Absolutely, like Nikki, I met Nikki when she was still in high school. I graduated three or four years earlier than her, so she was a wee bit younger than me. But we have known each other all that time.

I was fortunate enough to have designed her first feature film and we’ve sort of kept friends after since. We are a part of the same gang; we hang out socially. Others on the film are part of the same game. Denise Car was a makeup artist and Ris Tan was the producer etc, etc.

So, yeah, it’s New Zealand’s only got a couple million people living in it. So all out film people know each other, we work with each other a lot. It’s really brilliant to have followed Nikki’s ascendancy through the directing thing.

You know, she has always been very intelligent and literate sort of person. So to be a part of that has been great. It’s a great way to be a part of her Hollywood thing. She lives in Hollywood now, so we still keep int touch but she’s half way around the world now.

27:55 Mike Battle:

That’s fantastic, I’m sure she feels the same way about you.

We’ll be back after the break.

As a man very qualified to discuss set extension, do you think in the future sets are going to get smaller and smaller as effects take over.

28:11 Grant Major:

Yes, they will change, I don’t know about getting smaller. Per say you know my latest kind of epic film Mulan did have a lot of big sets in it. It’s something about the realism that the built environment has that’s very difficult to achieve with visual effects.

In a way it’s too easy to bump to vis effects to do things because so often you feel like you’re not part of the film, you’re not part of that world. Not just myself, but actors and directors like to have sets that people can interact with, a part of the imaginative process, when you’re actually making a film.

So, I think the build environment is always going to be there. Visual effects are getting more tricky, more interesting ways of being able to do these sorts of things, like these big massive video screens they have these sorts of days that can be the background rather than a green screen. So I think that’s a rather cool sort of new way of being able to extend the sort of environment.

But again, they’re just tools, and the subject matter of what those environments are are very important that they work as a production design, storytelling element, I think is important. The rest of the visual effects thing is difficult to carry out.

I think it’s difficult should I say, I’ll rephrase that it’s important not to put the cart before the horse you know. It’s the actual productions design process that’s more important than the actual way of carrying it out.

So, they may get smaller, more broken up. In the old days we’d build a 360 degree set so you could point the camera in any direction. These days they tend to be very layered. You tend to do smaller set pieces, you’d have a set piece for the main action, another set piece for the background action, another set piece for miniatures, or you’d have all these different sort of elements that make up a single shot.

So, it’s that’s sort of atomizing of each scene now, or each shot is more prevalent I should say.

30:42 Mike Battle:

I see, have you come into contact yet with working in the covid film industry or is that something yet for you to experience?

30:48 Grant Major:

Yeah I have, it’s new I have just completed a new Jane Campion film called the power of the dog which will be coming out in about a year’s time. That was interrupted by COVID-19, covid interrupts us, but we had to three weeks out from the end of filming we had to put the breaks on, take a break from filming for x amount of weeks, and we got going there were hard and fast health and safety protocols

You know, clocking in, clocking out of the studio making these health declarations. Wearing masks and gloves, working in smaller groups, bubbles, of people. It allowed us to create, finish the film within the health and safety lock down. It’s a process, you know, because we all traditionally will work within the environment close to eachother. There’s a lot of physical interaction and stuff like that.

Obviously when it comes to acting and makeup in particular those things do need that sort of environment. But when it comes to production and design, not so much. We separated out our onset operation from the offset operation.

There’s a lot of protocols you can follow to keep a healthy work place. So, all good.

32:14 Mike Battle:

You mentioned it earlier with some of your comments on new Zealand being a smaller country. I also heard it in an interview where you said it doesn’t get mentioned often. Which I don’t know if I would agree with, because the people you’ve already mentioned in this conversation along are proof of the amazing waves and  project coming out of the country.

Do you think that given the talent pool, the existing structure, and of course the natural outfits, that New Zealand could grow into an international production powerhouse like the UK has in recent years?

32:42 Grant Major:

Yeah, well look it’s a very competitive industry. Countries compete with each other to attract business. We had a rebate system which is similar to everywhere else, I’m sure England has got one as well.

It’s a politicians say it’s like a race to the bottom in terms of how much we make and offer out. Australia just changed its rebate to increase its business, so it’s a great competition with Australia to you know, attract these businesses but New Zealand yes it does have a very large skill bae.

We have attracted a lot of big budget, big kind of films before. Especially things where there a workshop, they are incredible tools to have. We are of a size that past a point interestingly right now, is highly unavailable because there are some big shows in town that have consumed everybody. So, yes there are a lot of skilled people here, it’s not open ended you know.

We can’t just kind of have endless amounts of shows here at the same time. But I think we are competitive. Interestingly enough, when I work overseas the skill base does equate pretty well to what’s going on in places like Canada, Australia, England, and what have you.

34:05 Mike Battle:

Absolutely and finally before we do our little last questionnaire, I ask you is there anything you would like to change about the industry?

34:11 Grant Major:

I think it’s a really great industry there’s nothing that really come to mind per say. I do like the idea because we immerse ourselves, when we do a show we can’t half do it you have to put in 120%. So that means all day every day. Size, seven days a week, families tend to suffer as a result. That does tend to be the thing that gets people out of the industry, having kids.

So, I like the idea where we can diversify by having the ability to have spend time with your kids at work, allowing them onto the set, I do like these kinds of things with Nikki Caro in particular.

She’s got kids and they hang around on set. She’s very keen on people having a life as well as working on the show. I think that’s the main thing, other than that I think it’s pretty good.

In New Zealand we’re very diverse and there’s a lot of parts of the community that come together to make it. I think during Lord of the Rings, one in every seven people had something to do with the making of Lord of the Ring.

35:21 Mike Battle:

Fantastic, finally I do my little questionnaire which is an ode to in the actor’s studio. So, it’s just a little quick fire. So, whatever comes into your head first.

You ready grant?

35:29 Grant Major:

Bring it on

35:30 Mike Battle:

Number one, what is the best piece of advice, you’ve ever been given?

35:33 Grant Major:

Well one from memory was from director Peter Jackson actually, he said make it real, it’s gotta be real. Cause if you don’t create a real world you’re not believing in the world, and you’re not believing by extension the actors, and the story, and all that sort of stuff.

So, you know it’s pretty simple really. Make it real even if it’s a fantasy, a period, or outer space, or whatever. It’s gotta be real

35:40 Mike Battle:

Number 2, do you have a favorite film?

35:50 Grant Major:

The ones that carry with me over time, that sounds like a real cliches saying this but it’s nights of Arabia and 2,000 liters under the sea, the Russian solarace production.

36:17 Mike Battle:

Number three, what gives you a reason to get out of bed for an early call time, if anything?

36:21 Grant Major:

It’s like feat, you know, we’ve got a, it’s the thrill of doing these things, sometimes I’m thrilled, and some times I feel absolutely in terror of what I do because the responsibilities and the money being spent is like and addictive thing. Show business does to you.

36:43 Mike Battle:

Number four which job in the industry would you do if you weren’t doing yours?

36:48 Grant Major:

I’d probably, I would have aspirations to be an editor. I think that’s a really cool part of the process, and a little bit understated. But they do one of the most critical jobs in terms of construction of the story.

Mike Battle:

Number five, what general profession would you not like to do in life?

37:08 Grant Major:

Well, I think I never really wanted to be an accountant. Being heard it’s a mess, that would be a job that would make me pain myself probably.

37:21 Mike Battle:

Especially with your families arts background. Number six, if you could work with one person, living or dead who would it be?

37:26 Grant Major:

Um, I think Kubrick.

Mike Battle:

Number seven, what is a book that everyone should read?

37:33 Grant Major:

A book I read over the Christmas, almost a year already, but I read Sapiens by Uvine Hearery  (37:40) which affected me very deeply. He’s an incredible writer, and an incredible philosopher. So, read it I strongly recommend.

Mike Battle:

Great answer I’ve heard that a lot. And finally, if you won an Oscar who would you thank? But of course for you Grant, I must ask who did you thank and why.

37:56 Grant Major:

Yeah, well they give me 15 seconds for these sorts of things and I decided to share my speech with my fellow set decorator. But, it was to me the most important thing is the crew, because notionally although I’m sort of head of department, these guys these people, men and women who make up the art department are such cool people.

They are like my brothers and sisters when we’re doing these things. I do try and encourage everybody to be involved creatively to be able to make your own decisions. On the job, the individual jobs they are doing. They rise to the occasion and add an exponential vision to the thing that I think is fantastic. Good on them.

38:48 Mike Battle: Amazing answer, thank you so much to Grant Major for joining me today and for your eloquent advice and stories from the business. I can’t quite believe I’ve spoken to the man who designed hobberton.

Thank you again, for listening to another episode of Red Carpet Rookies to keep updated, you can follow Red Carpet Rookies on Instagram or Facebook. Rookies pod on twitter, or contact us at redcarpetrookies@gmail.com.

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Have a great day, and we’ll see you next time.

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