The first significant piece of work I created as a graphic designer for film was the pink Mendl’s box for Wes Anderson.
Before the Grand Budapest Hotel I was used to working on TV shows — costume dramas, mostly — where the props didn’t get all that much screen time. That’s ok, that’s just the nature of the work, the focus is on the characters. But I could tell by reading the GBH script that the Mendl’s box was a hero (a hero prop is a piece that has to pass the scrutiny of the camera and audience), and that it had a character of its own. I think it shows up in nearly every set of the movie at some point.
Join our community
This article is available to subscribers only. Sign up now for your access-all-areas pass.
If your email address is registered we will send you an email to recover your password.
Got a question?
+44 (0)20 7292 3703 or email@example.com