Local 44 News

A Conversation with Emmy Nominee Set Decorator Matt Callahan

Celebrating his first Emmy nomination for Outstanding Production Design for A Narrative Contemporary Program for “The Flight Attendant” is a dream come true for brother Callahan whose “show biz” roots started at an early age.  Some of his credits include “Animal Kingdom”, “Shameless”, “House of Lies”, “The Descendants” and “The Family Stone”.

How and when did you get your start in show business?

I started in “show business” when I was a kid.  I was always into theater, acting and directing.  Out of college I got into Actors Equity and worked as an actor and director. For sixteen years I worked for the producers of a theatrical show called “Shear Madness”. I acted and directed for them all over North America.  When I came to LA to do a production I fell in love with California and decided to stay. My first job in production was as a PA on “Volcano”. I think I was the oldest PA ever!  But that only lasted a few weeks before they bumped me up to coordinator. On that first show I met two people who would be pivotal in my career: KC Fox, Set Decorator, who was my mentor, and Nina Ruscio, Production Designer, who got me my first decorating gig in 1998 on a little indie called “The Annihilation of Fish”.  And she was the Production Designer on Season 2 of “Flight Attendant”, of course!

How did you approach the set decoration for the show?

Well, “The Flight Attendant” has an aspirational quality so we knew we wanted beautiful sets. At the same time both Nina and I are very character driven. We like to the tell the story of a character’s everyday life as a foundation for the scenes. On top of that there were a lot of technical considerations because of the way the hotel set becomes Cassie’s “mind palace”, not just a metaphor for her mind but a portal into her mind.  Then, of course, there were all the challenges that Covid-19 brought, not the least of which was sourcing high end furnishings.  Essentially, we had to jump in with both feet and run, run, run for the finish line!  

What was your most challenging set to decorate?

The most challenging set by far was the Hotel lobby and bar.  It was a blast to work with Nina to design those lovely interiors but sourcing high end furnishings on a limited timeline during Covid was a nightmare.  Another challenge was collecting a wide array of gorgeous liquor bottles for the back bar.  That was handled by my awesome leadman, Chris Littleford and our crew. They came through in a big way - and that wall of liquor shimmering against Nina’s luminous marble is a huge part of what makes that set tell a story and sparkle at that the same time.

Which production from your resume is your fondest memory and why?

Well, this is a no brainer: it would have to be “The Descendants”.  Primarily because I spent five glorious months living in - and falling in love with - Hawaii.   Being in paradise takes the edge off the challenges of production - and there were plenty of challenges, of course.  But we had a ball working there, it’s kind of hard not to.  I am also deeply proud of the work I did on that show in collaboration with Jane Stewart, the Production Designer.

Wish you had worked on which classic movie or show if you had the chance?

Great question.  I love the sets from the musicals and stylish comedies of the late 50’s and 60’s.  “Auntie Mame”, “Singing in the Rain”, “How to Steal a Million”, “Pillow Talk”, to name a few. Love the color, the style, the theatricality!

Local 44 congratulates Brother Callahan on his Emmy nomination and thanks him for taking the time from his busy schedule to chat with NewsReel. 

Emmy Nominee Matt Callahan

Photos from "The Flight Attendant"

A Conversation with Emmy Nominee Set Decorator George DeTitta Jr.

Oscar Nominee and Emmy Winner Brother DeTitta Jr. has earned a second consecutive Emmy nomination for Outstanding Production Design for A Narrative Contemporary Program for “Succession”. Currently filming Season 4 of the hit show, his many credits include: “Inventing Anna”, “Tell Me a Story”, “Shades of Blue”, “The Sisterhood of Traveling Pants”, “I Am Legend” and “Angels in America” to name just a few from a long and diverse career.

How and when did you get your start in show business?

My family has over 100 years in the film industry. My grandfather, George, the original, was an electrician and a charter member of Local 52 IATSE in New York which was started in 1924. He later became a sound man when sound was introduced in the late 1920's. His brother was a cameraman on early productions and went on to become a studio executive in the newsreel division of Movietone News. My father, George the 2nd, was a Set Decorator and then president of Local 52 in the late 1990's in New York before retiring in 2004. I started my career in 1977 working on various films as a set dresser. In 1980, I worked on my first project as a Set Decorator, working with my father on the feature “Ragtime”, directed by Milos Foreman. It was a large production, so my Dad and I ended up splitting up the various locations. At age 24, I was working with Patrizia Von Brandenstein who was the Production Designer and Art Director on the project. Patrizia and I went on to work on numerous projects including “Working Girl”, “The Emperor's Club” and “Shaft”.

How did you approach the set decoration for the show?

I entered the world of “Succession” after the pilot was picked-up. Steve Carter, our Production Designer, wanted to stay with the look that Kevin Thompson, the pilot's Production Designer and Susan Bode, the Set Decorator, had originally established. The approach was a colder and less personal approach to wealth where it wasn't necessarily in your face and the camera didn't linger on it. We achieved this look by staying with a certain palette where color was minimal and clean lines in furniture were the choices, reflecting the idea that we did not want to draw attention to the design or decor. 

Favorite set on the show that is the perfect reflection of the characters?

For me Logan's townhouse, a stage set at Kaufman Astoria Studios, is the perfect setting that reflects the family’s wealth but a bit cool in terms of personality.  I also think the Waystar office complex which is also a set constructed on location at the new World Trade Center is a good visual example of the corporate media company where the entire Roy empire is run from.

Describe some of the challenges or triumphs in decorating the main sets?

Quite a few challenges presented themselves during the filming of the show. I'd say putting together Waystar, the show's corporate offices in Season 1 was a big challenge. The set was put together from start to finish in a very high profile, security tight World Trade Center in 4 weeks from a raw space with no walls; basically just the concrete floor to a fully dressed office with main offices for each character, a bullpen area for twenty office workers and of course the office where Logan is often seen running Waystar. The basic footprint of the office was probably a third of a floor of a typical NYC skyscraper. After Season 2, we had to strike and move the entire office set to another World Trade Center building as we lost our lease on the space. The challenges working in a building that sat on the site of the worst terrorist attack in US history were particularly difficult. Security, getting trucks, set dressing etc., into a space where everything was scrutinized, given the once over along with what seemed like an impossible timeframe to deliver in 4 weeks was a tall order.

Which production is your fondest memory and why?

“Ragtime”. It was my first project as a Set Decorator and a period piece that was set in New York City in the early 1900s.  I dressed an entire street including every shop front with all the details of life at the turn of the century. It challenged me for sure but found it very rewarding when the outcome came to life visually. It was also a project where I got to work with my Dad as a Set Decorator, which was very special. It was pure magic for a young man who was just starting his career. Probably hooked me for life as I saw what could be accomplished creatively in our industry as a Set Decorator. The icing on the cake, was when the movie received an Oscar nomination for Production Design and I attended the Academy Awards with my wife, Dad and Mom. Great memories!

Wish you had worked on which classic movie or show if you had the chance?

“The Godfather” since I had worked with Francis Coppola on “New York Stories”.  It would have been great to work on this classic for obvious reasons. A true classic, a movie that usually is people's # 1 choice and a great looking film visually.

Local 44 congratulates Brother DeTitta Jr. on his Emmy nomination and thanks him for taking the time from his busy schedule to chat with NewsReel. 

Emmy Nominee George DeTitta Jr.

Photos from "Succession"

Please be advised, there is an internet service outage to the area around the Union Hall. Local 44's phone system and email are dependant on internet connection. Our remote workers may be able to take your call but they will not be able to provide membership services because their remote connection to the hall is also dependant on the hall having internet. Our service providers are in the process of fixing the outage, however we have not been given an ETA of when service will resume.

Thank you for your patience while we get this issue resolved.

Click here to view the PDF for the
COVID-19 Return to Work Extension Agreement thru 4-30-22

Volunteers are needed

IATSE is in full Support of Striking Jon Donaire Workers!

Please come and join us Saturday, February 12, 2022, at 9:30am, at the Jon Donaire production plant in Santa Fe Springs, CA. 

IATSE will join our brothers and sisters in solidarity at the Rally. Please remember to wear your IATSE T-shirts, so we can represent.

Rich Products workers are on strike for fair pay, sick leave, dignity, justice and respect. Support members of the BCTGM Local 37 who have been on strike against Rich Products Corp. at the Jon Donaire production plant in Santa Fe Springs, CA since Nov. 3rd.

Please do not buy ice cream cakes from Cold Stone Creamery or Baskin Robbins. Also avoid ice cream cakes from grocery stores like Walmart, Costco, Smart & Final and Safeway that have a small Jon Donaire logo on the packaging.

You can also march with them, and participate on social media.

On November 24, 2021, International President Matthew D. Loeb ruled on the appeal from impeachment by Steven "Dutch" Merrick. In denying Merrick's appeal, the International rejected every basis and defense he raised.

Therefore, the finding of guilt stands and Merrick's various defenses, including that rights under Federal law were violated, were dismissed.

Any member who wishes to review the decision is welcome to make an appointment with the Local 44 office to read the Minutes from the December 8, 2021, Executive Board Meeting.  The letter is reproduced in its entirety in the meeting record.

Dear Sisters, Brothers and Kin,

The Hollywood Basic Agreement voting concluded on Sunday, November 14th. Members of the IATSE from across the country have ratified the Basic Agreement and the Area Standards Agreement. Local 44 members voted to ratify the Basic Agreement.

• 4558 (71.9%) Turnout
• 2479 (54.4%) Voted to approve the 2021 Basic Agreement
• 2079 (45.6%) Voted to reject the 2021 Basic Agreement

See the IATSE press release here. Further details will be forthcoming.

In Solidarity,

Tobey Bays
Business Agent
IATSE Local 44

• Monday November 8 - Beginning at 6:00am (PST) Honest Ballot sends a test email from vote@honestballot.com to all voting eligible members that we have an email address for.

• Friday November 12 - At 6:00am (PST) Honest Ballot opens the online ballot for each Local and sends the ratification vote email to all eligible voters. Voting officially begins.

• Sunday November 14 - At 8:59pm (PST) voting ends and the polls close.

• Monday November 15 - At 9:00am (PST) Honest Ballot sends the voting results to each Local. Notification of the results will be communicated to the members later that same morning.