STAR WARS: THE RISE OF SKYWALKER (new)

  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Rebel base, Landing zone...

    Chewbacca [Joonas Suotamo], Poe [Oscar Isaac], Finn [John Boyega], Rey [Daisy Ridley] and C-3PO [Anthony Daniels] prepare to embark on a mission aboard the Millennium Falcon from the Rebel Base, situated on the tropical moon Ajan Kloss...

    Set Decorator Rosemary Brandenburg SDSA reveals,
    “This jungle was constructed at a park in London near Pinewood Studios, with the considerable talents of Peter Hooper and his Greens Team.

    The exterior section of the Millennium Falcon was constructed on site. The Set Decoration team added the complex tubing detail, lights, and flight gear being loaded on and off the ships.”

    Photo by Jonathan Olley ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Rebel base, Landing zone...

    “Set Decoration Drapesmaster Jesse Jones and his group constructed huge custom camouflage nets, the pattern a deliberate graphic design...”

    Photo by Joseph Sanchez ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Rebel base, Outpost cave...
    The Blockade Runner ship Tantive IV is concealed in an enormous jungle cave, the Rebels’ temporary headquarters. This is the same ship where Leia was introduced, in STAR WARS: EPISODE IV-A NEW HOPE, in 1977.

    “The huge cavern set was built onstage at Pinewood. The Set Decoration and Props team designed and built the military communications and ground equipment. One of many complex projects was to complete the physically built enormous spaceship, applying “greebles” large and small to the shell supplied by Construction. The term ‘greeble’ entered the lexicon of STAR WARS Set Decoration and Property crews in the 1980s, translated as kludge or gak: small items used to make a plain surface more complex and interesting...”

    Photo by John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Rebel base...

    “Portable military furniture was fabricated for the film, based on military designs, combined with classic shapes inspired by Ralph McQuarrie and Harry Lange, who were seminal in the design of the original STAR WARS series...
    Center console was designed by Lee Sandales for EPISODE VII.
    Credit goes to Assistant Set Decorator Samantha Redwood and Supervising Dressing Propman Peter Watson for their work on the extensive Rebel base cave set for our EPISODE IX...”

    Photo by John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Rebel base...

    “Set Decoration Art Director Lydia Fry was instrumental in design and planning for the military power plant components of the Rebel Base.

    These elements were a combination of stock items from former films and new designs. All were built in-house by Mark Rocca’s Prop Making team, with detail added by Propmaster Jamie Wilkinson’s crew.”

    drawing by Linda Fry ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The Millennium Falcon...

    “The iconic ship’s most recent role prior to EPISODE IX was in SOLO: A STAR WARS STORY (2018), when it was fitted out to look new, owned by young Lando Calrissian.

    In preproduction for this iteration, the Falcon was faithfully returned to the “present day”: in all its beat up, malfunctioning glory.
    Chargehand Dressing Propman Nathan Holt, worked with Prop Making HOD Mark Rocca, to restore it...”

    Chewbacca [Joonas Suotamo], Poe [Oscar Isaac], Finn [John Boyega], Rey [Daisy Ridley]
    Photo by Jonathan Olley ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The Millennium Falcon...

    “The STAR WARS aesthetic is relatively primitive.
    Cues for style are gleaned from the 1980s. No futuristic research is done, instead of electronic glow panels, manual switches are used, and greebles are made from a huge collection in the workshop of salvaged hardware and industrial parts.
    The ship breaks down frequently and the characters must repair it on the fly, so concepting what’s inside panels and wiring patterns is all-important...”

    Photo by John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The Millennium Falcon, Cargo bay...

    A legacy set first built for STAR WARS: EPISODE IV - A NEW HOPE, but not physically preserved after that series of films wrapped. It was re-created for the current trilogy, loyally dressed by the crew from STAR WARS: EPISODE VII – THE FORCE AWAKENS, and maintained with great care through all its iterations.

    Photo by John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Aki-Aki Festival of the Ancestors, Pasaana...
    Chewbacca, Poe, Rey and Finn arrive at the desert planet Pasaana’s Festival of the Ancestors, a celebration held every forty-two years. Rey has never seen so much joy and color in one place, and the others are entranced, while warily watching for First Order soldiers and mercenaries.

    Rosemary notes, “After months of design and fabrication, a flotilla made up of 10 shipping containers packed with set dressing and props was dispatched by sea from London to Aqaba Jordan, for a journey of 5 weeks. They were followed by Assistant Set Decorator Andrew McCarthy SDSA, with a hardy props crew and chargehand dressers headed by Assistant Prop Master John Fox, Drapesmaster Alex Lewry and Chargehand Painter James Wickison. The location was the Wadi Rum desert, a spectacular national treasure of the Kingdom of Jordan.”


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana Festival of the Ancestors,
    Ritual burning of effigies...


    “Inventing ceremony and religion for the Aki-Aki proved to be a grand challenge. In the end, the simplest forms prevailed. Corn-husk dolls, derived from the basic toy of children on the frontier in the old American West, were fashioned to resemble the Aki-Aki. Many hundreds of local Jordanian extras were outfitted with heads, hands and feet, designed and fabricated by the Creature Effects team led by Neil Scanlan, and costumes designed by Michael Kaplan.

    Note the festival vendors, banners, and tents in the background.
    The area dressed with tents, speeders, banners, water containers, fountains and sleds piled with market goods, exceeded half a square kilometer...”
    Photo by Jonathan Olley ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana Festival of the Ancestors,
    Puppet show...

    “Elder Aki-Aki storytellers perform their culture’s origin story to children. This is one of four tent designs manufactured in the Set Decoration Drapery shop in London and shipped to Jordan. Thirty tents were fabricated, some very large (!), under the supervision of Drapesmaster Jesse Jones.
    5,000 meters of custom-dyed fabrics and trims were sourced in India by Production Buyer Corina Floyd Burroughs. Technical drawings were done, and a frame and covering built, but at the end of the day, improvements and embellishments were executed on site in Jordan by the Drapes team there, which included several local craftspeople under the supervision of Drapesmaster Alex Lewry. The woven sunshade awning over the children was a request from Director of Photography Dan Mindel, and was made from muslin hand-dyed at Pinewood with a purposely rustic treatment.”
    Photo by Jonathan Olley ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana Festival,
    Tent Detail...


    “Hanging embellishments on the edges of the tents evolved into an opportunity for strings of greebles that flashed in the sun and moved with the wind. 1,200 greeble strings were hand made, each was unique and ranged from 2-6 feet in length, executed by a team under Prop Workshop Supervisor Martyn Doust and Prop Modeller Faye Ruddick.
    Poles became a decorative anchor, wrapped with varying thicknesses, textures and colors to create a sculptural shape
    Every tent was furnished with carpets on the floor, places to sit or stand, food baskets, ceramic and metal carafes, and myriad colorful textiles, all custom designed and fabricated from scratch, or adapted from found materials.”

    Photo by Andrew McCarthy. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana Festival,
    Preliminary Tent Illustration...


    “The Arch or Open Weave tent was designed to allow the strong desert winds to pass through, while providing shade from the harsh sun.

    Initial drawings were situated in Turkey’s Cappadocia region, although Jordan’s Wadi Rum desert was settled on as the location in the end. The cone shapes of the rock formations in that part of Turkey remained an influence on the design.”

    Drawing by Chris Rosewarne. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana Festival: Round Tent Drawings...

    “The Round Tent offered design and engineering opportunities, including the tent struts at the sides which held a great deal of tension, finials at the top and on the awning, greeble strings, vertical poles, colorways and interior furnishings.
    Set Decoration Assistant Art Director Clara Gomez del Moral approached the engineering of this complex structure with great care, with support from Assistant Propmaster John Fox. There were five in-house Set Decoration fabrication shops on the film: Propmaking, under HOD Mark Rocca, the Props Workshop supervised by Martyn Doust, Carpenters overseen by Duncan McNeil, Paint under Carl Wildman, and Drapery under Jesse Jones. Assistant Propmasters John Fox and Jack Garwood contributed immensely to these builds.”

    Illustration by Chris Rosewarne. Drafting plan by Clara Gomez del Moral. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana Festival: Vendor and Masks illustration...

    “Festival vendor reference came from all over the world, and from historic as well as contemporary sources. Researcher Nicola Barnes was invaluable in providing visual fodder to mix up in order to create original designs.

    The Hand Props team led by Jamie Wilkinson created special harnesses for the vendors carrying their loads, and the team made thousands of faux food delicacies. Foam pool noodles were a valuable raw material in this instance!”

    Illustration by Chris Rosewarne.Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana speeder...
    Poe [Oscar Isaac], Finn [John Boyega] and C-3PO [Anthony Daniels] race through the desert, pursued by First Order Stormtroopers...
    “The Desert Speeders were designed and fabricated by the Action Vehicles Department, under the Art Direction of Oliver van de Vijver and Action Vehicles Supervisor Warren Stickley, who ran a large shop.
    Once the shell was complete and painted, Set Decoration and Props provided finishing elements, including flags, handprops and bundles. The Dressing Props team worked for weeks making multiples of various styles of bundles. Some were needed for the other sets such as the Desert Transport Vehicle, and throughout the Festival. The bundles were made with natural materials and custom dyed textiles mostly from India. Hand Props team composed bombs and charges made from salvaged jet engine housings and other materials...”
    Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Pasaana preliminary Speeder, Set Dressing proposal...
    The Speeder in this drawing originated with the Action Vehicles Department. Then Rosemary worked with Illustrator Chris Rosewarne to add the Set Decoration elements. “Drawings such as this provided the opportunity for review with Production Designers Rick Carter and Kevin Jenkins, Director JJ Abrams, 2nd Unit Director Victoria Mahoney, and Stunt Coordinator Eunice Huthart.
    The action required different versions. Some were crafted to race across the desert, others were on gimbles and track. Advance preparation was particularly important, since the Speeders would be first established at the remote location in Jordan, where it would be challenging to adjust quickly to changes...”

    Illustration by Chris Rosewarne.Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Ochi Bestoon’s Spaceship Cockpit...
    Ochi was a Sith loyalist, Jedi hunter and mercenary who died in the desert of Pasaana, his ship abandoned.
    “Set Decoration designed and built the panels on the walls, side and center consoles, chairs, and lighting, with design help from Art Director Daniel Nussbaumer, who came on board specifically to help with this ship. Consoles were mapped out by Lead Graphic Designer Dan Burke, as a nod to the late Concept Designer Harry Lange, who originated the graphic treatment for panel design in STAR WARS: EPISODES IV, V, & VI, preceded by his work on 2001, A SPACE ODYSSEY, after working with NASA developing spaceships in the real world! Key design notes for STAR WARS panels are colored square buttons, points of light in linear arrangements, the judicious application of greebles, and white keylines, with particular attention paid to negative space and the subtle balance between these elements.
    Photo by Shannon Kirbie ©2019 Lucasfilm Ltd. All Rights Reserved.



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Derelict Ochi spaceship, Cargo hold...

    “’A filthy ship’, as C3PO says, it is full of sand from the desert, spiderwebs, and Ochi’s weapons cache.

    Design inspirations: Buyer Lucie Bourgeau found an inflatable air mattress with a graphic, linear form, which inspired the pattern on the rib in the center of the ship. A few switches are Lego Stormtrooper helmets. The yellow-orange wall–mounted cargo keepers are based on safety bars in roller coasters.


    Photo by Shannon Kirbie ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The city of Kijimi...

    Zorii Bliss [Keri Russell] greets an old friend by pointing her weapon at him.

    Kijimi was an enormous set, covered with snow and ice, built on Pinewood’s backlot.
    The tall streetlamp next to Zorii is adapted from a design by the late visionary Concept Designer Ralph McQuarrie, who helped George Lucas develop the look of the first and second STAR WARS Trilogies. There are many homages to McQuarrie throughout the film.”

    Photo by Jonathan Olley ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The city of Kijimi, doorway and tunnel...

    “The city is a cold, hard place, where it’s always night.
    Traders and miscreants take refuge behind closed doorways.
    A cargo sled accents the block stone architecture, steep streets and current of fear in Kijimi, since its occupation by the First Order.”

    Photo by Rosemary Brandenburg. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The city of Kijimi, doorway and tunnel...

    “Steep steps and ramps create wonderful depth and provide forced perspective in this beautifully designed set, supervised by Art Director Jim Barr.

    Set Decoration provided detail to facades and roofs, including 1,650 running feet of ‘Equator Bands’ below the eaves: this is another special STAR WARS term: a busy decorated linear feature within a relatively simple wall.”

    Photo by Rosemary Brandenburg. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    The city of Kijimi, practical lighting plan...

    “Since Kijimi was shot at night, the Set Decoration team designed and fabricated streetlamps, wall lamps, and pendants.
    This lighting plan was generated by Assistant Set Decorator Chloe James, who managed all the Kijimi sets. Once the fixtures were designed, prototypes manufactured and camera tested, this document helped determine how many of each type were required from our fabrication and wiring teams.
    Practical electricians in the UK are known as ‘the Sparks’.”

    Image by Chloe James. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Babu Frik’s Droid Shop, Kijimi...
    They need to access a hidden memory in C3PO’s database.
    A potentially perilous problem...

    Babu Frik’s droid workshop is one of those brilliant sets we’ve come to expect in a SW film...ingenious elements in a very industrialized third-world, brilliant recycling, reinterpretation, reuse of scavenged parts...
    These depictions are always a favorite of STAR WARS fans, which translates into “It better be great!”
    And it is!

    Oscar Isaac, John Boyega, Daisy Ridley, Anthony Daniels.
    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved.



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Babu Frik’s Droid Shop, Kijimi...

    “The design of the shelving is based on the shape of a key shot from STAR WARS: EPISODE IV where Leia is hiding the data in R2D2. The shelves feature little ladders, so tiny Babu Frik can climb and look for parts.

    Assistant Set Decorator Chloe James, Chargehand Dressing Propman Dave Tincombe, Prop Workshop Supervisor Martyn Doust, Propmaking HOD Mark Rocca, and a small army of craftspeople spent months making Droid parts for the set.”

    Photo by Rosemary Brandenburg. Courtesy ©2019 Lucasfilm Ltd. All Rights Reserved.




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Babu Frik’s Droid Shop, Kijimi...

    “This set demanded a complex layering of Droid history and technology. The shop was purposely designed to be cramped, and careful space planning was vital to the successful execution of the set.
    We made reproductions of iconic droids such as the Battle Droid, the Clown Droid and many droid feet, bodies, and hands. The Creature Fx and Costume Departments loaned droids and parts.”

    Note the hydraulic worktable, which enables Babu Frik to elevate and lower to any height...”

    Photo by John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Babu Frik’s Droid Shop, Kijimi...

    “The oilbath is a nod to the scene in STAR WARS: EPISODE IV where C3PO and Luke first meet on Tatooine.
    The red robot on the floor is the Bad Robot, which is the name of Director JJ Abrams’s company.”

    Photo by John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Babu Frik’s Droid Shop, Kijimi...
    C3PO, BB8, D-O, Babu Frik...

    Babu Frik, an expert in droid repair and programming, performs a workaround on C3PO’s operating system.

    Photos by Jonathan Olley, John Wilson ©2019 Lucasfilm Ltd. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    STAR WARS: Episode IV, reference...

    The first film, the first moments we meet Princess Leia and the loyal, brave R2D2, who steals our hearts film after film...

    Rosemary points out a significant detail...
    “Note the shape of the side panels are echoed in the shelving for Babu Frik’s workshop...”

    Carrie Fisher. Courtesy 20th Century Fox ©1977. All Rights Reserved.


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Kylo Ren’s Star Destroyer...

    Immersed in a lightsaber battle, Rey [Daisy Ridley] and Kylo Ren [Adam Driver] shatter the plinth on which Darth Vader’s helmet was displayed. White stalagmite shapes from the First Order, usually seen in black, here reinterpreted in white.

    “Graphic Designer Dan Burke planned the lit control panels and line patterns throughout the set.”

    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Kylo Ren’s Quarters..Star Destroyer...

    “Assistant Set Decorator Samantha Redwood’s attention to detail extended to laying out the greeble collage behind the clear panel on the column. Set Dressing workshop technicians assembled this and many other custom builds in the set.”

    Photo by Hannah Gautrey. Courtesy Lucasfilm Ltd ©2019. All Rights Reserved



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Kylo Ren’s Star Destroyer,
    Red Corridor...


    “Assistant Set Decorator Chloe James managed a series of long corridors, built over several soundstages. Action ranged from marching, prisoner capture, chase sequences, to fighting, as the Rebel heroes evade the First Order Stormtroopers.

    Pipes with typical STAR WARS thick-thin segments were fabricated and finished with metallic paints in our workshops. Supervising Dressing Propman Ade Platt and his team painstakingly performed precise installation.”

    Photo by Hannah Gautrey. Courtesy Lucasfilm Ltd ©2019. All Rights Reserved


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Kylo Ren’s Star Destroyer,
    Ramp Corridor...


    “Art Director Liam Georgensen is a STAR WARS virtuoso, and did an incredible job designing detail into the Star Destroyer. His plans called out special Set Decoration makes throughout the ship.
    Note the intricate blades at left of the ramp, the lozenges in the corners of the trapezoid doorways, control panels at the sides going down the hallway, and graphic line detailing at the edges of the ramp. All these elements were built in the Set Decoration workshops, and installed by our Dressing Props team.”

    Photo by Hannah Gautrey. Courtesy Lucasfilm Ltd ©2019. All Rights Reserved





  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Remains of the second Death Star...

    Kylo Ren finds Rey in the ruined Death Star Throne Room, the remains of which are impaled in the planet Kef Bir...

    “A dramatic setting for an epic fight with Kylo Ren, where he wills Rey to surrender to the Dark Side.
    The Set Dec team reconstructed the plans and built the ruined Throne, and supplied wrecked spaceship parts, cables, and ducting. “

    Daisy Ridley, Adam Driver.
    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Exegol, hidden world of the Sith...
    Also spelled Ixigul in ancient texts...

    “The unnatural ways of the Dark Side of the Force are revealed.
    Palpatine’s cloning and life support systems involve huge fluid-filled chambers that echo Darth Vader’s meditation chamber. Electrical conductors harvest energy from the planet’s core. Production Designers Kevin Jenkins and Rick Carter deserve kudos for the dramatic design of this climatic sequence.

    The large life-support chambers were a combined project between the Art Department, Set Decoration, Practical Electricians, Special Effects, and Construction.”

    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Exegol, Palpatine’s Life Support system...

    Palpatine a.k.a. Darth Sidious...
    “The Set Decoration team combined scratch builds and found parts, yards of flexible tubing, plus evil-looking purple goo to create the sinister tubes and injectors around Palpatine’s head...

    Ian McDiarmid.
    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved



  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Exegol, Sith Throne...

    Rey emerges into the huge Throne Room, where she encounters Palpatine suspended from his life support mechanical arm.

    “The Art Department managed the enormous throne. HOD Sculptor Conrad Lindley-Thompson and his team built the throne in full scale after sculpting clay maquettes as the design evolved. It was breathtaking on the set.
    Prop Making HOD Mark Rocca machined the parts that made up the mechanical arm support structure, which was made real for shots of the actor, including a piece for shadows overhead, and later extended upwards in VFX...”

    Ian McDiarmid. Daisy Ridley.
    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved




  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Skies above Exegol, Star Destroyer battle...
    The Rebels foil the New Order fleet by riding Orbacks into battle on the hull of the Star Destroyer...
    “This 200’ long set was built at a huge retired blimp hangar, now Cardington Studios, an hour north of London. The surface and turret vertical structure at left was built as a physical set up to 60’ high, then extended beyond that in VFX. Set Decoration sent a crew under Supervising Dressing Prop Man Peter Watson here for six months to prepare and apply heavy layers of pipe and shaped detail to the vertical set and inside the trenches, as well as the separated elements on the smoother hull area. Buyer Helen Player purchased enormous quantities of industrial fittings, which were collaged together, applied and then painted in place. Mark Rocca’s shop made parts for the giant gun in foreground and many other elements
    Visual Effects’ extensions were seamless and stunning, and the New Order fleet was dauntingly beautiful.
    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved


  • set decorator
    Rosemary Brandenburg SDSA

    production designers
    Rick Carter
    Kevin Jenkins

    LucasFilm/Walt Disney Pictures


    Skies above Exegol, Star Destroyer battle...

    BB8, Finn, Janna, Rebel riders on the attack...

    “The stunt horses wore flowing fur capes courtesy of Creature FX, headed by Neal Scanlan. Their faces were built in VSFX after the shoot. Production Buyer Corina Floyd Burroughs, an old hand at fantasy saddlery, assisted with the design of the tack for the creatures, which were manufactured by a London saddle specialist.
    It was thrilling to hear the thundering hooves of these gorgeous creatures flying down the hull of the ship at top speed during the shoot.”

    John Boyega, Naomi Ackey.
    Courtesy Lucasfilm Ltd ©2019. All Rights Reserved




The saga ends, the story lives forever...
                                                                -- LucasFilms
 
 
We caught Set Decorator Rosemary Brandenburg SDSA just before she embarks on her next exciting film journey, to take us truly behind the scenes of this compelling anchor to the epic space saga!
 
STAR WARS fans will be thrilled!
Set decorators, other filmmakers and film aficionados will also appreciate the intricate and amazing details, the humongous sets and challenges Rosemary generously shares, all with a bit of a twinkle in her eye!
 
Thanks go to Brannon Smithwick, Raelyn Tepper and Ken Haber for their assistance on this article and gallery, LucasFilm...and especially, to RB!
 
There is so much depth here, we know you’ll keep coming back for more. 
See you often!
And enjoy!
Karen Burg,
Editor
 
 
 
SD: This film series has quite a history. How did you become involved with STAR WARS: EPISODE IX – THE RISE OF SKYWALKER?
 
Set Decorator Rosemary Brandenburg SDSA:
Primarily it was my work history with some key collaborators. I served as Set Decorator on AMISTAD and CAST AWAY with Co-Production Designer Rick Carter, and we later served together as Governors at the Academy of Motion Picture Arts and Sciences. I worked with Darren Gilford in London in 2016 on KINGSMAN: THE GOLDEN CIRCLE, who was Co-Production Designer with Rick on STAR WARS: EPISODE VII – THE FORCE AWAKENS. Darren recommended me to the Producers. I met Co-Production Designer Kevin Jenkins when I came on board. 
 
The other part of the story is that London is a very busy film center, so that Set Decorator and series veteran Lee Sandales [EPISODE VII, ROGUE ONE, and SOLO] was unavailable. Nor was Richard Roberts [STAR WARS: EPISODE VIII – THE LAST JEDI].  
 
I am proud to have been first woman as a key Art Department head on any of the ten live action STAR WARS films. I give Lucasfilm, under Kathy Kennedy’s leadership, a lot of credit for promoting women in key roles under her watch. 
 
SD: The Set Decoration department in the UK is organized differently than in the US. Would you clarify for us, particularly for a film of this magnitude! 
 
Generally, the UK Set Decorator plays a larger role in terms of design, fabrication, and supervision of more project areas. Construction manages the overall structure of a set, provides embellishment such as skirting and cornices, and paint or wood finishes, and usually door and window glass. Set Decoration generally handles the rest of the finishing and furnishing.
 
A project like STAR WARS throws curveballs into negotiating the who-does-what of it all, but happily our Construction Manager Malcolm Roberts (Construction Coordinator in the US), was easy to work with and incredibly good at his job. Supervising Art Director Paul Inglis was another key player in facilitating the flow of work.  
 
The laundry list of UK Set Decoration responsibilities: 
Carpeting, linoleum, tile and non-wood flooring.
Wallpaper, custom panels and surfaces, including spaceship consoles and control panels, wall tile.
Door furniture down to the hinges (hardware).
Shelving and counters such as bars and backbars, whether built-in or not, all kitchen counters and cabinets, appliances.
Signage, street furniture.
Light fittings, drapery and all textile work.
Graphics.
Props.
Greens (usually).
...and of course, furniture and small objects. 
Concepting, design, drafting, and fabrication for all Set Decoration elements, and the usual sourcing of items. 
 
SD: How many crew were on your staff? 
 
We had about 175 people in the combined Set Decoration, Props, and Graphics team, including the manufacturing contingent. 
A list of our key staff members with their basic job descriptions are at the end of this article. Thank you to all!
 
Hiring was complicated by how busy it is in London, and by the fact that I don’t have a long track record of working there. Many crews have been together for years. I was so fortunate to have an amazing team, veterans and those with fresh eyes, to support me and the project. 
 
Watching the completed film, for me, was like seeing the tips of a lot of icebergs that we created, by concepting, illustrating, drafting, shopping parts and pieces, and building. Every person who helped out came floating into my mind as I let the images wash over me. It was an amazing group of talented artists. 
 
SD: Please describe the process for Set Decoration during prep... 
 
I started the project in January of 2018, and embarked on a crash course in STAR WARS. I had a lot to learn—while familiar with the series, I was no expert. There were scholars and fans to satisfy, and a canon of imagery and concepts with which to become familiar. Co- Production Designer Kevin Jenkins gave me a simple aesthetic to follow: “This is retro futurism. Look primarily at the ‘70s for inspiration. Things are more analog, less digital and electronic. The Resistance is rounded, earthly, used, real, echoes of the DUKES OF HAZZARD. In contrast, the First Order is Brutalist, chamfered, with hard edges.”
 
By the time we went to camera in early August of 2018, after 7 months of prep, my head was brimming with legacy images, mixed with new concepts, planets, cultures, and settings in this film. 
 
Fortuitously, I was able to bring on veterans like Set Decoration Art Directors Lydia Frye and Ollie Roberts, who had worked on the series before, and knew the shapes and proportions appropriate to the different cultures such as Rebels vs. First Order. Assistant Set Decorators Andrew McCarthy, Samantha Redwood and Chloe James, who all had familiarity with the series, were a huge support. 
 
How did you approach custom set dressing elements?
 
We researched, gathered ideas, made illustrations, prepared digital and physical presentations, assembled samples, and presented to the Director and Production Designers in both formal and informal reviews. When concepts and elements were approved, we made detailed drawings and went into production, using our in-house manufacturing capabilities, down to paint finishes and aging, and when the time came, dressed the sets. 
 
SD: Was the Rebel Base Control Center on the planet Ajani Kloss constructed on a stage?
 
Yes. A huge Pinewood soundstage held giant cave walls, ground support equipment, jungle plants and an enormous section of the Blockade Runner, the Tantive IV. The ship was the Rebel headquarters, after the events of EPISODE VIII reduced resources dramatically for the Resistance. With Rebel strength seriously diminished, they had to make do with less. 
 
Besides ground communication and control equipment, and the power plant, we built and dressed out caves within the same area for Rey’s Workshop, where she also sleeps, and Leia’s Quarters, as well as communication and control workstations throughout the set. 
 
We combined a mix of new elements that we designed and built, and adaptations of stock from previous films, designed by Set Decorators Lee Sandales and Richard Roberts from EPISODES VII and VIII.
 
SD: How did you construct the jungle that surrounds the Rebel base? 
 
An English wood near Pinewood, called Black Park, was the setting for the spaceship-landing zone and Rey’s Jedi training ground. Turning it into a jungle took a lot of doing. Greens Team, with whom I’d worked previously on KINGSMAN 2, had the capacity to capably handle such a huge job. Several areas were dressed with masses of tropical plants imported from southern Europe and Holland’s vast greenhouses. Our Set Decoration/ Prop Workshop built an anti-aircraft gun that we designed. We dressed in Rebel ground equipment, radar units, and huge custom-made camo nets to hide the camp from enemy surveillance, made by the Set Decoration Drapery crew led by Jesse Jones.
 
Where did the small ships come from that are dressed around the Rebel base? Are they assets from previous installments? Fabricated for the film? 
 
Our Action Vehicles Department, headed by Art Director Oliver van der Vijver and Action Vehicles Supervisor Warren Stickley, provided a variety of small spacecraft, which we partially or entirely covered in tarps and camo. Some of the ships had been in storage from previous films but required revamping, and others were made specifically for this film. One of the ships is actually a painted cutout: this is a nod to the first films, which used this technique to expand resources with a limited budget.
 
Ajan Kloss seems like a very big planet. Where does the decorated set end and CGI begin? How did you prep with the VFX team for expansive locations like this and the expansive desert on Pasaana
 
Audiences might be surprised at how much we built and dressed “for real” in this film. Director JJ Abrams likes to shoot the actors within actual scenery as much as possible, and we gave it to him! And then, we gave him some more!
 
The Blockade Runner that was built onstage was huge, and not too much of it was extended by the VFX team, ably headed by Roger Guyett. Their work is quite subtle, they often enhance what is physically there, and the blend is seamless. In the cave, they augmented shots straight up, and out the mouth of the cave. But in person, that wide, tall stage, was completely full of beautifully finished set and set dressing. 
 
The Pasaana Festival was greatly extended, since there were meant to be tens of thousands of celebrants. On the shoot days, there were about a thousand Jordanian extras dressed in masks in their beautiful colorful tunics. These were then multiplied by VFX. We had planned to erect a giant deity physically in the desert, but it became impractical, mostly due to wind and for reasons of conservation, so those elements were added later as well. On location at Wadi Rum, also known as Valley of the Moon, Set Decoration and Props physically dressed half a kilometer square full of tents, water towers...or Vaporators as SW fans know them...fountains, speeders and vehicles fully kitted out with cargo.  
 
Another gargantuan set was the hull of the Star Destroyer where the big Act 3 fight unfolds, pitting the Resistance against the New Order, led by Finn and Jannah and their troops riding Orbaks, horse-like creatures from the Moon of Endor where the Death Star wreckage landed. It was built at Cardington, a retired blimp factory north of London, the only space large enough to hold this huge set where the stunt horses could run at full speed and not reach the end before the set ran out. 
 
Regarding the Control Station set up: In the UK, is the lighting department responsible for powering set dressing elements like this one, or does that fall within the Set Dec department?
 
We work hand in hand with our colleagues the Rigging Electricians, a.k.a. Practical Sparks, who handle all electrical wiring for practicals, and fit LED’s into the odd spaces of built set dressing pieces. Our Prop Making team cuts the panels, installs the small lights or lit buttons. They also create the Perspex (Plexiglas) screens scribed with patterns, so that LED light tape installed by the Sparks, hidden within the edges of the cases, can illuminate it and be controlled from the Electricians’ control desk offstage, to change color and intensity. 
 
What about the classic STAR WARS sets, like the Millennium Falcon? Is that a standing set?
 
This beloved set shot first in the schedule, so it served as a shakedown cruise for me. Its last outing was on SOLO: A STAR WARS STORY. For that film, Set Decorator Lee Sandales renovated the old ship so that surfaces and tech were freshly minted, and seating was upholstered in Lando Calrissian’s signature mustard- yellow. Propmaster Jamie Wilkinson, who has been in charge of the Hand Props crew, Weapons team, and Set Dressers for the STAR WARS series since EPISODE VII, led the restoration of the ship to its disheveled state for EPISODE IX. The parts and pieces for the older version, made for Episode VII, also decorated by Sandales, had been carefully archived under the care of Storeman Quentin Davies, and his team.
 
There were still plenty of bits needing to be restored. A few small changes were made for our EPISODE IX: in the script, the ship gets damaged, so a few panels were detailed out so they could be opened for on-screen “inspection and repair”. We also fulfilled a request from Director JJ Abrams that cockpit controls be even more interactive, giving actors the ability to better manipulate switches on the control panels and flight console without having to mime the action. 
 
Many hands were required to refresh and renew the vessel. Prop Making workshop head Mark Rocca had an entire subset of control panel experts. They worked hand-in-hand with the Graphics team, headed by Dan Burke, and the Practical Electricians, headed by Nick Woollard. Chargehand Dressing Prop man Nathan Holt saw to the reassembly of the dressing as Construction finished their work. Assistant Set Decorator Sam Redwood checked and rechecked that everything matched the former films. Another veteran of the series, having been an Assistant Art Director on EPISODE VII, she made sure that the Easter Egg Lego piece on the landing ramp was replaced, since it had disappeared. 
 
What about your research process for the Pasaana Festival of the Ancestors—traditions of the ancestors, history of the planet, inspirations, concepts, etc—that lend to the Bohemian style of the festival’s decoration?
 
As Co-Production Designer Rick Carter said, “Who knew this would be so hard, to create a god?”
 
This one was really complex and took ages to get the design right, since the script was still evolving as we were coming up with concepts. The locals are a peaceable people, whose spirituality is based in reverence for the ancestors. The brief was for this to be a very colorful, joyous celebration. We looked at festivals around the world, that had bright pageantry, like those in different areas of India, Thailand, various cultures in Africa, Indonesia, and the list goes on. We went on a buying trip to India where we sourced textiles and decorative elements, but manufactured a large amount of dressing and props as well. 
 
Kijimi...
What were the architectural influences for this city?
 
The Art Department looked at Japanese hill towns, and combined these Asian influences with old Italian medieval hill cities built on cliffs above the sea.
 
It was a beautiful set, built at the Pinewood back lot, with winding staircases, cobblestone ramps, buildings made of huge blocks of stone, gorgeous roof lines, and opportunities to move the action from place to place without repeating where we were. 
 
Special Effects added the snow- it was mostly rock salt. 
 
What did you bring to Kijimi City?
 
Since the scenes were all to be at night, we designed many lighting fixtures and found some that we could adapt. We also installed many meters of “Equator Band”—linear dressing that accents a plain surface—into all the eaves. Our set dressing designs were extensive, including lit control entry panels, storage jars, benches, sleds with cargo, street heaters, Spice dispensers, and fish drying racks. It’s a city of traders, so trade goods were a big theme. 
 
Kef Bir, a moon of Endor, site of the Death Star wreckage...
Were you involved in the discussion of what interior areas to replicate for the movie? 
 
The second Death Star, first seen in STAR WARS: EPISODE VI – RETURN OF THE JEDI was, of course, massive. Co-Production Designer Kevin Jenkins, who astounded me with the breadth of his knowledge of the history and backstory of STAR WARS, worked with Director JJ Abrams and Writer Chris Terrio to select those parts of the Death Star that would telegraph clearly to the audience, even in their ruined state, and serve the scripted journey as the characters traverse the wreck. Kevin made wonderful pencil sketches to start the design process, always keeping to simple, iconic shapes and dramatic angles. Rey and Kylo Ren’s journeys through the ship were storyboarded and illustrated, and once the script settled in, each department started design on their area of concern. 
 
JJ Abrams conceived Kef Bir as a stormy, watery planet, and huge waves endlessly crash on the wreck. The multiple sets for the Death Star wreckage were built over different sound stages and back lot areas, with varying degrees of moisture, depending how far they were from the sea. In wetter areas, we used a meticulously molded mosaic of crusty barnacles and mollusks to clad surfaces. Each set had particular types of wreckage to assemble, build, and age, dependent on the original design from EPISODE VI.  
 
In the story, Rey leaves dry land in the skiff, crosses huge waves, boards the wreck, and climbs giant wrecked cylinders to move from one area to the next. Scaling the heights and leaping across huge gulfs echoes her first appearance in EPISODE VII, during her scavenger days on Jakku. She picks her way through hallways scattered with dead Stormtroopers, to the Throne Room, to secret scary rooms, and then moves out to the wrecked outer hull. 
 
The Throne Room’s dramatically damaged window was a fitting background for a confrontation between Rey and Kylo Ren. Our Set Decoration design team started by drawing and reconstructing the throne. At first, we weren’t certain as to how exactly we would show its destruction, so we built the entire chair, upholstery and all. Once we were clearer about camera angles and its position against the window, we set about artfully destroying it. 
 
For flotsam and jetsam in the ship, we followed the idea that has been behind STAR WARS spaceship style from the beginning: it’s a period film, not futurism. The guts of the ship are anything but minimal...there are large quantities of cable, ducting, and connectors. On a practical level, Set Decoration teams on STAR WARS have always made liberal use of industrial salvage. 
 
The fight between Ren and Rey continues on the surface of the ruined Death Star, structured as ribs extending into the wild sea. We designed and built the huge gun on the circular chassis and supplied surface detail, wreckage, more barnacles, and seaweed imported from Ireland. 
 
Where was your mechanical set dressing sourced?
 
We started with a good base from the former films in our workshops, both raw materials and a stock of previously used designed and built items. There were gears, cables, metal shapes, control panels, exhaust mechanisms, aeronautical salvage, lighting, backs of molded industrial shells, knobs, valves, pipe, connectors, and textural surfacing material. The raw parts stash was sorted by the Storemen as to size, shape and type. As the needs for each project became clearer, we made buying trips to industrial and military salvage sources, including a Polish military salvage dealer, or “breaker” as they say in British. As novices to the series, Production Buyer Corina Floyd Burrough and I at first made the error of investing in fabulous old military objects that were extremely heavy! We learned that a key to a successful salvage run is to make sure the item can be lifted easily, since recombination and collage techniques are used so frequently.
 
Plastic molded fluids containers in myriad shapes and sizes are used as a base for all kinds of STAR WARS props and dressing. If a particular part was in short supply, we would mold it to create multiples. Buyer Helen Player was particularly adept at finding the best switches, flaps, and doohickeys for this arena. 
 
As for film prop and dressing vendors, an indispensable source in London is the amazing Bob’s Bits, with supply streams from odd and wonderful industries, as well as manufacturing capabilities. 
 
 
Key Set Decoration staff members:
 
• Propmaster: Jamie Wilkinson 
Serves as the equivalent to the US Set Decorator’s Lead, hiring and managing crew, including multiple Chargehand Dressing Prop persons (a role similar to US Gang Boss but doesn’t do pickups, just set dressing), and organizing craftsmen for in-house building shops that almost every British film uses.
The Propmaster also controls the hand props and weapons. Traditionally the UK Set Decorator has a role in their selection and design. Both Propmasters I worked with in the UK followed the “American System” where they had a larger role in designing and selecting the hand props, but we still worked together closely on the look of key props, especially when they flowed from the environment as opposed to being personal props. 
 
• Production Buyer: Corina Floyd Burrough
Runs the budget for the Set Decorator, responsible for keeping the department on track financially, including tracking labor, as well as running a team and locating dressing and props. Corina traveled to India and Poland on buying trips.
 
• Location Set Decorator: Andrew McCarthy  
Under creative control of the Set Decorator, handled Jordan location. Also managed several other sets in London. 
 
• Assistant Set Decorators: Chloe James and Samantha Redwood
Manage specifically assigned sets, including research, break down drawings to determine parts required, suggest set dressing options to the Set Decorator, make requests to the Buyers for supplies needed, works with Chargehand Dressers to complete the dressing of the set. 
 
• Buyers: Helen Player and Lucie Bourgeau
Fulfill requests from the Set Decorator and Assistant Set Decorators for goods found in Prop Hire houses or in the open marketplace, whether new or salvaged, in the UK and internationally. Helped Corina with extensive budget tracking. 
 
•  Petty Cash Buyer: Chloe Taylor
Handles smaller purchases, on the road making runs for dressing props and materials. We also used Chloe for in-house dying of textiles when she had time!
 
• Lead Graphic Designer: Dan Burke, with assistants Hannah Kons, Dominic Sikking and Josie Kealy
Design and production for all graphics for Set Decoration, the Art Department, Props and Costumes. 
 
• Computer Graphics: Andrew Booth and Helen Baker and team
Design for motion graphics on live screens
 
• Concept Artists (Illustrators in the US): Chris Rosewarne and Chris Caldow
Work with the Set Decorator to envision fabricated elements. 
...with occasional help from the Art Department Illustrators when they had time. Props had their own Concept Artist. 
 
• Art Directors for Set Decoration and Props: Lydia Frye (prep) and Oliver Roberts (Shoot).  
Assistant Art Director: Clara Gomez del Moral. 
Art Director Daniel Nussbaumer for Ochi’s Spaceship
Translated concepts and ideas into drawings, engineered and followed through on designs, issued plans to our manufacturing shops, troubleshooting from start to finish. 
 
 • Draughtspersons (Set Designers in the US): Anita Rajkumar, Kate Pickthall, Helen Dawson, Andy Proctor, and Junior Draughtsperson Hannah Wiessler Leas
 
• Set Decoration Coordinator: Eleanor Bailey
Managed the office, the department calendar, assisted with loading and navigating digital assets on Atris, the secure server system.
Turned in paperwork and time sheets to accounting, monitored the Set Decoration Drawing Log, office setup/maintenance, the point person for Production to chase things up for Set Decoration.  
 
• Researcher: Nicola Barnes
 
• Drapesmaster Jesse Jones, with Alex Lewry, Daniel O’Brien & team
 
• Supervising Painter: Carl Wildman and team. 
James Wickison was Location Chargehand painter in Jordan
 
• Chargehand Carpenter, a.k.a. “Chippies”: Duncan McNeil and team
 
• Prop Making HOD (Head of Department): Mark Rocca
A large shop, similar to a fully kitted out US Propshop, but separate from the Special Effects workshop. Makes set dressing and handprops as drawn in the Set Dec Art Department or from cocktail napkin sketches! Machine tools, molding, electronics panels, metal work, plastics, sculpting. 
 
• Props Workshop Supervisor: Martyn Doust and team, including Advanced Prop Modeler Faye Ruddick
A smaller scale shop primarily designed to make hand props but also effecting large quantities of craft-oriented set dressing makes. Examples: Festival greebles strings, robot parts, festival toys
 
• Storemen: Quentin Davies, with assistants Kelvin Cook, Colin Merchant, and Jonathan Wallace
Manage the inventory in the storage buildings, moving from workshop to stage or location, loading into containers for shipment to Jordan, truck (lorry) pickups, make inventory reports, work with the Assets department for record keeping and storage.  
 
• Greens: Peter Hooper for Greens Team, 
I managed Greens on KINGSMAN but on EPISODE IX, I asked that each set’s Art Director deal with Greens Team themselves. 
They did amazing work. 
 
• Playback: Mark Jordan and Sam Jones
 
• Assistant Propmasters: 
John Fox headed up the Dressing and Hand props team in Jordan, Jack Garwood managed the Dressing Props team in London. 
Simon Wilkinson specialized in Weapons and Hand Props. 
 
• Chargehand Dressing Propmen 
Similar to Gang Bosses in LA, but they only dress the sets, don’t generally go out on the truck. Great technical knowledge and rigging skills
Adrian Platt
Peter Watson
Will Ayres
Nathan Holt
Dave Tincombe
Steve Westley
Silas Williams
Ross Wagner 
 
• Dressing Propmen: Each of the above would have a crew of 2-6 crew working under him, dependent on the scale of the set at hand
 
• Standby Props: Sonny Merchant and team
Combined job of the US On-Set Dresser and On-Set Props
 
•  Standby Art Director, Peter James, 
Hired by the Art Department, encompasses some of the function of the US On-Set Dresser, working with the camera, having a capable eye to composition, coordinating the standby team for the shooting crew such as the carpenter, painter, practical sparks. 
 
• Set Dec Assistants/ Runners: Hannah Gautrey and Joseph Sanchez. 
Make runs, help keep the department organized, help prepare presentations, get tea. Joseph ended up as a trainee in one of our workshops toward the end. Hannah took loads of progress photos of the set dressing being finished and dressed in.   
 
• Action Vehicles: Art Director Oliver van der Vijver and Action Vehicles Supervisor Warren Stickley
Traditionally run by Set Decoration but in the case of both my UK films this department was run by an Art Director 
 
 
A final word
STAR WARS to me is about optimism: if we pull together and give it our best, we can overcome great obstacles. As I write this, the entire world is in the midst of huge challenges. There’s a reason this franchise has such great appeal—its message is so on point right now. 
No matter where I’ve worked throughout the world, I’ve found that the key to managing complexity is to empower the artists and technicians who join my team to bring their best game to the task. Including them in the creative process results in all of us being able to offer more to the project. This brings me great satisfaction. I consider myself very fortunate to work with people of this caliber. 
--Rosemary Brandenburg SDSA
 

 
 
 




 
 



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