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"
