Ken Olin:
THIS IS US




  • Pearson house…

    The Pearson family celebrates a four-person birthday shared by the father and all 3 children!

    Just one of many ways their lives intersect...

    Mandy Moore, Milo Ventimiglia, Mackenzie Hancsicsak, Lonnie Chavis, Parker Bates
    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Season finale…

    EP/Director Ken Olin discusses a step-back-in-time scene for the season finale with Milo Ventimiglia, who plays Jack Pearson...

    Photo ©2017 NBCUniversal





  • Pearson house…

    Rebecca and Jack [Mandy Moore, Milo Ventimiglia], in one of their few private moments, have a serious discussion...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house…

    Set details help us tract the Pearson family’s interests and the different time periods, as they are constantly shifting...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Pearson house, Christmas 1989…

    Set Decorator Beth Wooke SDSA and her team created two distinctly different Christmases for this episode, the other being a contemporary in one of the now grown children’s house which included an enormous live tree...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Pearson house, dining room…

    Ken Olin, Milo Ventimiglia, Mandy Moore and crew discuss the episode...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house, kitchen…

    A very pregnant Rebecca [Mandy Moore] has forgotten her husband’s birthday and is now desperately trying to put a treat together for him...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house, kitchen…

    Olin speaks of the authenticity of the sets...that they should seem so real that they almost fade into the back of the viewer’s awareness...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house, kitchen…

    Typical family morning...
    The boys [Parker Bates, Lonnie Chavis] are having cereal, while Kate’s [Mackenzie Hancsicsak] breakfast consists of fruit in a melon bowl...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson kitchen, 1996…

    Jump forward in time, as this series does, and Jack has a significant promotion at work, so remodeling of the house is built into the storyline...

    Photo by Beth Wooke
    ©2017 NBCUniversal





  • Pearson house…

    Stepping back in time, Rebecca [Mandy Moore] is a new mother to 3 infants! There’s a glimpse of the bassinets behind her...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house…

    New father Jack
    [Milo Ventimiglia] holds one of his sons, Randall, who was originally named Kyle but this was a better fit, per some wise and loving advice Rebecca received...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house…

    Jack [Milo Ventimiglia] is full of surprises and ideas, many of which Rebecca
    [Mandy Moore] delights in, and his optimism and determination seem boundless...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Pearson house…

    Like any large family, the washing machine becomes central to everyday life, so when it overflows, why not party?!!

    Mandy Moore, Milo Ventimiglia, Mackenzie Hancsicsak, Lonnie Chavis,
    Parker Bates
    Photo by Ron Batzdorff
    ©2017 NBCUniversal







  • How they met...
    Open mike bar, 1972


    Life turns around for Jack [Milo Ventimiglia] when he hears Rebecca [Mandy Moore] sing...it’s love at first sight...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal






  • Rebecca’s room, 1972…

    Rebecca Malone [Mandy Moore] is hoping for a singing career...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal






  • Rebecca’s room, 1972…

    She works diligently at it pursuing a singing career...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Rebecca’s room, 1972…

    Subtle references to the time period keep us involved in the story...

    Mandy Moore
    Photo by Ron Batzdorff
    ©2017 NBCUniversal







  • Jack’s room, 1972…

    The Vietnam vet has been bivouacked in the attic of his parent’s unwelcoming home while doing odd jobs and trying to save for his own place and his own business...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal






  • Thanksgiving motel…

    When the car breaks down in the middle of nowhere on the way to another unpleasant Thanksgiving with Rebecca’s parents, the family happily spends the holiday in a funky motel cabin...

    Mandy Moore, Milo Ventimiglia, Mackenzie Hancsicsak, Lonnie Chavis,
    Parker Bates
    Photo by Ron Batzdorff
    ©2017 NBCUniversal






  • Family cabin…

    With new traditions established on that holiday, the family now spends Thanksgiving in a cabin of their own...

    Mandy Moore, Mackenzie Hancsicsak, Lonnie Chavis,
    Parker Bates
    Photo by Ron Batzdorff
    ©2017 NBCUniversal







  • Family cabin…

    Comfortable and comforting, the cabin has become more than a tradition...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Family cabin…

    Now adults, the kids return to the cabin, perhaps for the last time...

    Sterling K. Brown as Randall, Chrissy Metz as Kate, Justin Hartley as Kevin

    Photo by Ron Batzdorff
    ©2017 NBCUniversal






  • Randall’s house…

    Randall [Sterling K. Brown] and his loving family, his wife
    Beth [Susan Kelechi Watson] and their two girls
    Tess and Annie [Eris Baker, Faithe Herman]...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Randall’s house…

    Although lovingly adopted at birth by the Pearsons and happily married, Randall has been searching his whole life for his familial roots. The tree in the large framed art piece quietly suggests that...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Randall’s house…

    It was important to have the piano in Randall’s house replicate the one he grew up with...Wooke found an almost perfect match at
    Hollywood Piano...

    Sterling K. Brown,
    Susan Kelechi Watson
    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Randall’s house…

    Because it’s a multi-story house, the foyer, with its curved staircase is often used and gives depth to the scenes...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Randall’s house…

    Like any real home, the kitchen is literally the hub of activity...who wouldn’t want to pull up a chair or stool!

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Randall’s house…

    The rich palette allows for a variety of lighting possibilities. Note the subtle use of vine motif on the Roman shades...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Randall’s house…

    Although modern, it retains a real sense of comfort.
    There was a growth measure in the Pearson house as well, but much more rudimentary!

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Randall’s house…

    Randall [Sterling K. Brown] has found his father
    William [Ron Cephas Jones], who has cancer. Being the person Randall is, there was no question that he would take care of his father for the rest of his life...

    ...And look at the comforting setting...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal






  • William’s apartment…

    It seems that Rebecca [Mandy Moore] actually met William [Ron Cephas Jones] when she first adopted his son...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Randall’s house,
    Annie’s room…


    William has been given Annie’s room.
    Could there be a happier place?

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Randall’s house,
    Tess’s room…


    Kevin [Justin Hartley] shares his art with Annie and Tess [Faithe Herman, Eris Baker] to help explain about his version of what happens when someone dies...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Randall’s office…

    Kevin [Justin Hartley] is uncomfortable in his brother Randall’s [Sterling K. Brown] meticulous Wall Street office...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal






  • Kevin’s dressing room…

    Kevin [Justin Hartley], the Hollywood celebrity, is trying to do a stage play on Broadway...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Kevin’s dressing room…

    The realities of backstage...

    Photo by Beth Wooke SDSA
    ©2017 NBCUniversal





  • Coffee bar …

    Over the course of the season Kate [Chrissy Metz] and Toby [Chris Sullivan] fall in love and get engaged...

    This set was on location at a bar that Wooke and team turned into a coffee bistro, using a considerable amount of set dressing from Lennie Marvin Propheaven!

    Photo by Ron Batzdorff
    ©2017 NBCUniversal





  • Season finale…

    Oh gosh, we have to say goodbye for a while!

    At least Kate [Chrissy Metz] and Toby [Chris Sullivan] are moving in together...

    Photo by Ron Batzdorff
    ©2017 NBCUniversal






The runaway hit series created by Dan Fogelman that unabashedly pulls at our hearts and has us coming back for more, THIS IS US takes us through different parts of a family’s life cycle, jumping back and forth through the decades and each of their lives, remembering and experiencing with them.

The sets not only reveal characters but also help ground us and let us know “when” we are. And we delight in each one!
 
Executive Producer/Director Ken Olin chatted with SET DECOR about the dynamics of making the series, the collaboration throughout, plus aspects of the sets by Production Designer Gary Frutkoff, Set Decorator Beth Wooke SDSA and their talented and hardworking teams!*

 
 
SET DECOR: Congratulations on THIS IS US! An intelligent dramedy with heart. You must be proud.
 
Executive Producer/Director Ken Olin: Yeah, I’m really proud of it. Not only am I proud of the show and what we do, and all the response and affection for it, but also it’s such a nice show to work on, with an incredible group of people. They are so diligent about the work, rigorous, and they’re really caring as well and respectful to one another. So it’s a kind of a big ensemble experience, really. It’s great.
 
I’ve done shows where you talk about family and you want that to be the experience, but that’s not what happens. It has to be organic to the experience. I think this has a lot to do with who Dan Fogelman is and the kind of people that he gravitates towards. In all of the leadership positions, the people are such decent and honest people, and kind, and it filters down. It’s just a really extraordinary group.
 
SET DECOR: Collaboration is essential. Everything overlaps and you really have to be able to work with each other—costume with set decoration and production design and photography, lighting—they’re all intermingled so much now...
 
Olin: Yes, especially when doing human relationships genre, it’s the most subjective. This is not a legal or medical drama where you can have more of a direct reference for the look.
 
There’s always taste involved when you’re working with design, but the human relationships genre has the most subjective reference point, because you’re saying to all of the “designers” [referring to everyone mentioned above] who are working with the writers and the directors and the cast, that everybody has their own experience...and their experience is valid. There’s no hierarchical reference in terms of authenticity.
 
It’s interesting because Glenn Ficarra and John Requa, the directors who did the pilot*, come from a very strong visual and design background. I don’t know what the process was, except that the pilot itself was purposely very limited and they had to be very cautious about what they did and didn’t show from a design perspective to hold for the intersection reveal. Of course, as we’ve been going forward in the show, it’s grown and expanded enormously.
 
For me, design is not my background. I come from a reactive place. So on the part of a set decorator and production designer, I have to be shown a lot of things, and I encourage a strong point of view because I have to react to them. I have a strong sense of how to move people in space and a strong sense geometrically in terms of photography, but I don’t have much ability to conceptualize architecture and color and design from nothing. So it has been really important for me to be able to react to different possibilities, to different palettes, to different kinds of things. And with Beth, that was extraordinary this year.
 
Another thing that is really important to me, especially in terms of relationships dramas, is that I like sets to be layered...sets that are messy and realistic. If things are too formal or too clean, I find that uninviting and it doesn’t feel particularly real. It’s actually not the way that I think people live in their spaces...they are usually more cluttered!
 

SET DECOR: Yes, because we keep things, some we even keep through different time periods. For instance, the rocking chair originally in the Pearson’s living room has made its way upstairs to the bedroom...
 
Olin: Yep, and our show has got to have that. Consistently, those are the places we go. You know, the whole series has very different kinds of experiences that are outside of the professionalized world. And that’s hard. I imagine this is pretty challenging for Beth and the crew!
 
We do go to Randall’s workplace, but that and a couple of high-end hotels, parties and restaurants are pretty much the extent of our “professionalized” canvas.
 
I’ve lived a pretty long time now and spent time in the theater, and I’ve been married for a long time and I have 2 kids that are grown and gone, so I’ve lived in those kinds of places where we’ve gone through, like you said, many different periods.
 
So when I walk into a set like Kevin’s dressing room [Broadway stage], and it is so brilliantly real...it is so filled, it’s spot-on. I’m very drawn to all the specificity, all the specifics that are on the wall, on the mirror, on the counter, because they’re in relief against blankness. For me, if that sense of space is filled accurately, I can watch the actor.
 
That was a set we did fairly quickly—the script comes out and we’re going to be in this NY stage dressing room that we suddenly have to create, because it has to fit on the same day we’re doing the main stage set in the theater.
 
You know working with people who are talented and who care makes such a difference. Beth is not from the theater. So for me to walk in there, and go, “Wow! That’s what it looks like!”...! You could look anywhere in that room and there’s tons of stuff and it’s a nondescript mix because he’s just moved in there. I was so happy with that set.
 
It’s things like that, if they seem so real that they go unnoticed, then we’re doing a great job. I think for our show, all these people/characters should seem to have lived in their places long enough that there’s too much history to start dissecting and deconstructing it, and it just feels like that’s where they live.
 
SET DECOR: And there’s a little wear and tear...
 
Olin: Yeah, and that’s hard to do. You know, you can wow people with really expensive sets and very glitzy or slick kinds of surfaces and all those things, but I don’t think those are as difficult, from a décor perspective, as pulling off a den in a house that someone has lived in for 15 years and who have teenage children. That’s really hard to do, let alone if it were 20 years ago and it’s got to feel like it’s completely truthful.
 
SET DECOR: With this series, we really relied on the sets in the Pearson house to tell us which period we were in because it jumps so much. Elements as simple as the different kitchen curtains helped us spot “when” we were...
 
Olin: Well that’s true, too. And we’ve gotten really good at it, but boy at the beginning, for all of us, it was entirely different. You know, the template that was created by the pilot was completely misleading. In the pilot, they were so careful about not revealing the different time periods, the intersection of the lives. But, then from the second hour on, it was, “Okay, now it’s all out in the open, we’re not concealing it at all.” And then it goes to the other extreme, “Wait a minute, they’re remodeling the kitchen!” And we would sit and laugh—these are the most involved decisions and most involved production meetings because we’re trying to figure out whether they should have replaced the stove in 1989 or 1993. I mean...!
 
SET DECOR: That’s the true life part...
 
Olin: Yeah, and the whole point is when we go in and photograph it, we don’t want you to be paying attention to that, it has to be seamless because all we’re trying to do is to create a context that feels authentic. Steve Beers, the producer, and I would sit with Beth and with Gary and talk it out. This is the single most complicated show we’ve ever done, and all of us have done really big shows, because we’re constantly changing time periods, having people live their full lives in these different periods. It’s really fun, you know, but it gets to be a little mind-bending at times.
 
SET DECOR: And how many times does a set piece get to be a major part of a storyline: the washing machine! And then it’s in the background in later scenes, the different incarnations, which just adds to it all, the realism, the credibility...
 
Olin: I know. That was fun wasn’t it?
 
SET DECOR: And we see the furnishing choices made, like the very Americana sofa set for the Pearsons’ home. The living room evolves as it would, different pillows, different throws, ever-changing stuff on the coffee table, and eventually the new sofa set. Those main pieces anchor it and give that deep sense of family and the others give quick time period references.
 
Olin: Even though ultimately those decisions I guess are under my purview, I’m not particularly knowledgeable about those things, so I can only react to what it feels like...if it feels right to me. The people in our design and decor department have a tremendous amount of authority and autonomy, and that’s the way all of us work. It’s a very collaborative place that way. We have a discussion conceptually and people take it from there, which is great.
 
I thought that in the finale, the set that was done for where Rebecca lived when she was starting out...she was 22 years old and there’s something that’s just marvelous in having those real record covers and things. You’ve got to tell something about her in literally about a minute, and the details do.
 
SET DECOR: Exactly, and the textures and the rust-color velveteen sofa against the greens of the rug gave clues to the period. The palette told us about her...earthy and natural...but also the brightness of the colors gave a sense of her optimism...
 
Olin: That’s great.
 
SET DECOR: In contrast, Jack’s attic space palette was somewhat drab and darker, like his life had become...
 
Olin: Great. And all I noticed was the sparseness...I would say to Beth, ““Look, this is 1972...I think he lives this very spare life. It’s temporary. He came from living in the barracks. It’s got to feel rougher in that way.”
 
And she did it having elements of that, without going overboard on both Rebecca’s and Jack’s sets. The color palette had those feelings, and the things she chose. And that’s not easy to do, but you want it to feel easy. Again, you want it to be, “Okay, don’t pay attention. I can watch and be with the characters.”
 
That’s the great thing in terms of our design department, there’s humility there. It’s not showing off. The only thing we want to show off is how good the actors are and how good our scripts are. It’s not show and tell about the way the show is shot. And it’s not show and tell about the way the show is designed. That takes a lot of talent to do. That takes a lot of texture and it takes a lot of substance to be able to create that kind of environment.
 
SET DECOR: Yes, and more!
The Pearsons’ house takes us through their past, even this last episode was not yet current...
 
Olin: Right. We went from 1972 to 1996.
 
SET DECOR: So, our touchstone for current day is Randall’s house and home. It is more high-end but it, too, is not overdone. It is very much a home that they live in, that is comfortable for them. We love the fact that there are floor pillows in the living room and the actors actually use them and it’s not just staged!
 
And at the same time, the look of this house gives a veracity for the younger generations today, because it’s something they can directly identify with, just as we can identify directly with some of the earlier periods, so it’s an interweaving, a beautiful combination of that...
 
Olin: Yep. Agree.
 
SET DECOR: And then, this is what happens often...the set decorator having people ask where a piece of art came from, or a rug or a pillow, because they so have fallen in love with it or identify with it. That certainly has been happening with Beth, particularly about one of the key pieces in there, the huge framed photograph of the tree.
 
And, I’m sure you know the story, about Beth coming across that photograph and thinking it would be such a perfect representation of Randall, his search for his roots, trying to complete his family tree...
 
Olin: Oh, yes. I remember she talked about this with me, but that was when I first saw it, a long time ago, which is beautiful. It’s so subtle really, and it doesn’t matter if anyone ever knows that. But it’s there. That’s the kind of care that goes into to the set.
 
Yes, it’s a beautiful art piece in and of itself, but it also has so much depth and meaning, because, again, we are ALL storytellers, whether you’re a writer, actor, director or the set decorator.
 
Olin: That’s right.
 
SET DECOR: So in trying to help get the story of the character, or the storyline, across, Beth would use a few elements with a bit of a leaf or branches motif throughout the house, just subtlely making that connection.
 
Olin: It’s great that you write about that, because people don’t know about that kind of thinking and care that goes into these things. When I’m told that, I’m “Wow, that’s so cool. That’s true.” That’s something that millions of people have watched and seen how many times over the course of this year?
 
That’s cool. I don’t even think about that.
I just look at it and go, “Oh, I like this piece here, that feels good.”
 
SET DECOR: Then they’ve done their job perfectly.
 
Olin: Yeah, well that’s what I mean about the humility...the humility of those decisions and going, “Hmm. Okay, that enriches the story in the way that I can.” I think everybody wants to contribute in their way, and respects everybody else’s contribution.
 
And that’s pretty unique.
 

 
 
 

 
 
*Production Designer Dan Bishop and Set Decorator Dianna Freas were responsible for the pilot
 

Set Decorator Beth Wooke SDSA would like to acknowledge her fantastic crew:
  Buyer Jill Carvalho SDSA Associate
  Lead Mark Rodriquez SDSA Associate 
  OnSet Dresser Casey Van Maanen
  Art Department Coordinator Gina Hermosillo
  Set Dresser David Dunn
  Set Dresser John Horning
  Set Dresser Ron Sica
  Set Dresser Steve Rodriguez
  Set Dresser Art Vasenius
  Set Dresser Raul Ortiz
  Graphic Designer Megan Greydanus  
  Production Assistant Marcie Maute
 
Wooke would also like to acknowledge the following resources, who can all be found in the SDSA directory
Set Decorator Resources:


Custom and Period Drapery:
·       Omega|Cinema Props
·       Warner Bros. Studios
Randall's living room
·       HD Buttercup
·       Mitchell Gold + Bob Williams
·       Grace Home Furnishings
·       Hollywood Piano Company
·       Sandy Rose Floral, Inc
·       Green Sets - especially the live Douglas Fir Christmas tree-in October! 
Randall's kitchen:
·       Exclusive Sales & Rentals
·       Hollywood Studio Gallery
·       Warner Bros. Studios
Pearson home – Rebecca & Jack + children:
·       Wertz Brothers Furniture Inc (a lot!)
·       The Mart Collective
·       Universal Studios Property
·       History for Hire
·       Omega|Cinema Props
·       Practical Props 
·       St Vincent de Paul LA Thrift Store
·       Square Deal Plumbing
·       Playback Technologies, Inc (Always changing period and practical television sets, including Kate's 1996 pink TV in bedroom)
Randall's office:
·       ZGO4
·       Modern Props
Cabin:
·       Warner Bros. Studios
·       Prop Services West 
Kevin's agent:
·       Bridge Furniture & Props, LLC
Kate's fitness camp:
·       Lennie Marvin's Propheaven
Kate's apartment (and later hers and Toby's):
·       Sunbeam Vintage (teal velvet sofa)
·       Art Pic
·       Pinacoteca Picture Props
·       Nest Studio Rentals
Memphis Blues Clubs and Ray's Bar
·       Air Designs
·       RC Vintage 
·       Hollywood Studio Gallery
 


director's chair archives

Drew Goddard: BAD TIMES AT THE EL ROYALE 2018-11-20
Tamara Jenkins: PRIVATE LIFE 2018-11-06
Drew Pearce: HOTEL ARTEMIS 2018-06-17
Joe Wright: DARKEST HOUR 2017-12-06
Bharat Nalluri: THE MAN WHO INVENTED CHRISTMAS 2017-11-28
Greta Gerwig: LADY BIRD 2017-11-06
Ken Biller: GENIUS 2017-04-27
James Gray: THE LOST CITY OF Z 2017-04-17
Niki Caro: THE ZOOKEEPER'S WIFE 2017-04-03
Theodore Melfi: HIDDEN FIGURES 2017-01-27
J.A. Bayona: A MONSTER CALLS 2017-01-03
Kelly Fremon Craig: THE EDGE OF SEVENTEEN 2016-12-02
Warren Beatty: RULES DON'T APPLY 2016-11-25
Jeff Nichols: LOVING 2016-11-02
Derek Cianfrance: THE LIGHT BETWEEN OCEANS 2016-09-10
Stephen Frears: FLORENCE FOSTER JENKINS 2016-08-15
Susanna White: OUR KIND OF TRAITOR 2016-07-03
Gareth Neame: DOWNTON ABBEY 2016-06-13
George Miller: MAD MAX: FURY ROAD 2016-01-13
Tom Hooper: THE DANISH GIRL 2015-12-15
Sarah Gavron: SUFFRAGETTE 2015-12-15
Edward Zwick: PAWN SACRIFICE 2015-09-25
Bill Pohlad: LOVE & MERCY 2015-07-10
Alex Garland: EX MACHINA 2015-06-11
Richard Linklater: BOYHOOD 2015-02-04
James Marsh: THE THEORY OF EVERYTHING 2014-12-19
Bennett Miller: FOXCATCHER 2014-11-30
Michael Hirst: VIKINGS 2014-06-14
Amma Asante: BELLE 2014-05-06
Brian Percival: THE BOOK THIEF 2013-11-26
Alfonso Cuarón: GRAVITY 2013-10-13
J.J. Abrams: STAR TREK INTO DARKNESS 2013-06-27
Juan Antonio Bayona: THE IMPOSSIBLE 2013-01-17
Joe Wright: ANNA KARENINA 2012-12-18
Ang Lee: LIFE OF PI 2012-12-01
Ben Affleck: ARGO 2012-10-27
Sacha Gervasi: HITCHCOCK 2012-10-27
Luc Besson: THE LADY 2012-01-10
Tomas Alfredson: TINKER TAILOR SOLDIER SPY 2011-12-13
Michel Hazanavicius: THE ARTIST 2011-12-08
Joe Wright: HANNA 2011-04-11
Mike Leigh: ANOTHER YEAR 2011-01-20
Tim Burton 2010-01-20
director's chair archives 2008-08-21


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