We recently had the pleasure of speaking with MA Filmmaking graduate and Production Designer, Abigail Quinlan. During her degree, Abigail discovered her love of production design and has since worked in this role on various projects including the award-winning grad film, Blue Note, as well as within the art department of Apple TV’s Criminal Record. Continue reading to learn more about Abigail’s experience studying a filmmaking master’s with us, how it impacted her professional career and what she’s been working on since graduating.
What have you been up to since graduating?
Since graduating, I’ve had the opportunity to work on a variety of feature films, television shows, music videos, and short films. I’ve held a range of roles, from props to standby to art directing, and across a wide variety of genres. I even spent a day with a special effects team learning about controlled explosives!
How would you describe your LFS experience and how has it impacted your career in film?
I can feel the benefits of my LFS education every time I step on set. While studying, I had the opportunity to try every department. Because of this holistic approach, I’m aware of the wants, needs, and desires of other departments and it makes me better at my job. Working as a cohesive unit accomplishing a goal is always difficult, but especially so when you’re working with people with differing technical skills. I may not know all the intricacies of every job on set, but it’s easier to see the bigger picture because of the multi-disciplinary nature of LFS.
It’s great to see all the success your grad film, Blue Note, has achieved, could you tell us a bit more about your role and experience working on the film? What was your favourite thing about it?
Blue Note was shot over a week in the Finnish archipelago. It takes place in a quintessentially Finnish setting, a summer cottage. The director, Pavel Andonov, and I knew that in order for me to understand the aesthetic of the set I was creating, I would need to spend some time in Finland. I had never been before and was quite intimidated by the idea of trying to recreate something so culturally specific. I ended up staying over a month in Helsinki, sourcing props and dressing from Kierrätyskeskus (charity shops) and even Pavel’s own summer cottage. We transformed two different rental cottages into one luscious living space filled with items from Pavel’s own life. It was a beautiful homage to his parents, whom the film was based on.
My favourite story from this production was when we had to source and cast a bug. There’s a small scene in the film where the main character, Lena, helps a bug crawling along the windowsill. Originally, this scene was meant to be a quiet moment where we got to know Lena a bit more. But when we were filming it became a climatic part of the final edit. The experience was equal parts emotional and intense, highlighted by the general hilariousness of getting a bug to “act”. It was such a beautiful and unique adventure, and I am so grateful to have had the chance to work on this special film.
Could you tell us about other projects you worked on during your time at LFS? Are there any experiences you had that particularly stand out?
In term 5 we made The Vagina Musical, which was an incredibly joyful experience. It was right after the first lockdown and just before the second. Emotions and tensions were high. This silly little musical that started out on a whim became something that really got me through COVID. We were such an amazing unit, Nizah Elias (DoP), Fergus Neville (Producer + Sound), Harriet Taylor (Producer), Tre’Shunn Harlan (Cam Op), and Sid Joshi (Production Design), and we made this creative and healing space while having so much fun. I will never forget filming this project and it will always have a special place in my heart.
Your work on Apple TV’s Criminal Record sounds incredible, what a brilliant achievement! It would be great to hear about your experience working on the series. How was it working with an LFS tutor and alumnus?
Criminal Record was designed by former LFS tutor Matthew Button and Art Directed by LFS lecturer Daniela Faggiolo. Among the art department were many LFS alumnus including Juri Ferri, Emily Marquet, and Andrea Vigoni. I remember my first day, I was full of nerves and feeling a bit overwhelmed. When I stepped into the office, it was full of friendly faces I had seen around the school, and I immediately knew I was in the right place. It was amazing to be working alongside so many people who were so passionate about production design and I truly felt like I had found my home!
One of my favourite days on set was researching and then building beehives for a second unit filming day. The whole crew had to dress up in beekeeping suits and spend the day filming the bees. From researching bee-safe paint to weather the hives, to painstakingly building the individual components, Andrea and I had to become experts on all things beekeeping. That’s one of my favourite things about Production Design. Whatever you’re working on, you have to become an expert in that thing. It could be spaceships, brick patterns, or forensic sample collection. But whatever world you’re building, you become the expert.
Are there any other projects you have worked on or are currently working on that you’re excited about?
Together with Production Designer Hannah McCulley, we recently wrapped on a film adaptation of the opera La Boheme. This film was directed by Olivier award winning Robin Norton-Hales. Hannah and I both come from a background in theatre, and it was a great opportunity to utilise two different skill sets to create something unique! The opera is set against the backdrop of East London and it became a visual love letter to quintessential spaces like the Cat and Mutton Pub and Victoria Park. The most beautiful moments were watching people passing the filming and stopping to listen to the music and live signing.
What’s on the cards for you next? Is there anything you’re working towards or planning?
Currently, I’m midway through shooting an indie sci-fi film. It’s my first time working in the sci-fi genre, and it’s been so fun to learn all of the design quirks of this aesthetic. Without giving too much away, a lot of the action takes place in a dive bar in space. A design dream!
What’s the most important thing you learned at LFS and what was the best thing about the MA Filmmaking programme?
I am fully aware of how cheesy this sounds, but it really is the people. I learned so much from the coursework at LFS, but really, it’s been through working with loads of different people that I learned the most. I’ve met some of my dearest friends through LFS and made countless connections within my professional network. I’ve worked alongside and for LFS tutors and had access to invaluable insight. There are so many things to learn about working in this industry and recently it’s been harder than ever! It was in these moments I was glad to have people to turn to and ask advice.
What advice would you give to someone who’s been accepted to LFS, to help them make the most of their time here?
LFS is the time to take risks. You have a golden opportunity to make massive mistakes and to learn where your strengths and weaknesses are. Write the wacky script! Make the weird choice! It’s the only time you may ever have where you know you have resources to make something cool. After LFS, things become so much harder to get off the ground. Also try and participate in as many films as possible! Grad films, term films, they’re all invaluable experiences. Even if you only have a few hours, people really appreciate it. And who knows where it may lead!
Photo credits (top to bottom)
Still from Blue Note (writer-director: Pavel Andonov)
Still from Blue Note (writer-director: Pavel Andonov)
Still from Vagina Musical (director: Abigail Quinlan)
BTS photos of Abigail on set (2)