(A behind the scenes glance at our alumni)
John Iacovelli
Interviewed by Allen Lee Hughes
What are you currently doing in your life and career that you are proud of?
I am living in LA and am now the Production Designer on the fourth season of the television show, Lincoln Heights. I also still design a lot of theatre and am currently working on four shows. One opens in a week. I have taught in the University of California System for almost twenty years and I am currently at UC Davis. I am in both local 800 for Art Direction and local 829. I have been on the National Board of 829 for many years. I have been a TONY voter and I am currently an Emmy and an Ovation voter.You graduated in 1984 and your career seems to be going very well.
That was a good year; my classmates were Dan Bishop, Diana Freas, Jeff Sage, Georgy Tyspin, Tony Kushner and David Esbjornson among others. George C Wolfe and Ang Lee also graduated from NYU that year. I just saw Georgy at his studio, and I was glad to see him using so many NYU assistants. I recently saw Dan and Diana at the Art Director’s Guild Awards where Dan won for Mad Men (and Jeff Beecroft also won for a Victoria’s Secret Commercial.) Dan joked with me that everyone in his Art Department has my name on their resume. There is a really good network in LA for NYU designers --we still have close bonds.What secrets, principles, talents, assistance, and support do you feel have made you so successful?
Secrets- Be nice to everyone and recognize that every member on a production is a collaborator, sometimes the “guy in the shop” will save your ass on a show. Make them all feel as though they are important. I tell my crews to make sure they are nice to the P. A. s as you never know when you will be working for them as producers (this happened to me.) Principles- There are two kinds of people: people who solve problems and people who don’t. Make sure you are a problem solver.Talents- As a designer, you are a storyteller and a valuable member of the team; when you have a good idea, share it. You don’t need to take credit for it.
Assistance- I did have some good mentors in school and out. I think our community of designers is generous in helping each other.
Support- My classmates, colleagues, and friends have been very supportive.
How are you currently involved with the department?
I come out for the portfolio reviews of the third year students and when I have been working in NY on television over the last few years, I have given tours of the sets and hired alums. I go to the Clambake in NY and the Design Showcase West at UCLA. I sponsor a cocktail party at my house in LA for the NYU grads that come out to Design Showcase West and I try to help alums get into the union and to get jobs. I have hired many alums over the years (and, in fact, Shaun Motley is currently the Asst. Art Director on Lincoln Heights.)Are there any ways that you would like to be more involved?
I hope so—probably I should give money.Trace your entry into the field from graduate school to professional.
When I graduated in 1984 I started scenic painting and working designing commercials. I assisted very few people and worked on getting design jobs. I painted for a year as a scenic artist for the McCarter Theatre and The Philadelphia Drama Guild and I became the charge painter at the McCarter the next year. I realized there were 150 guys just like me in Manhattan all trying to get the jobs the same eight or so designers had then (and still have.) Some of them were more talented than I and many less. I got a job offer to come out to LA and run the blue print machine at NBC in Burbank. The pay was less than half of what I as making as a scenic artist. There I met all the designers in town. After about three months, I got a job as an assistant art director for NBC and worked on a bunch of shows – Days of Our Lives, The Tonight Show, Punky Brewster and others. I got hired away by another show on the lot, a soap opera called Santa Barbara. I worked there for 3 months and then got a call to go be an Art Director on The Cosby Show, then the number one show on television. The show was coming to LA to finish its season, as there was a strike in NY (Tet Sinesi had been doing it in NY and came out for the hand-off.) After that, I then did the first four episodes of its spin-off called A Different World. From there I got hired on as the Art Director on the Disney film Honey, I Shrunk the Kids! In one year I had gone from running the blue print machine to art director on the number one TV show to being the Art Director on a big Hollywood special effects film. A year later I was production designer on Ashley Judd’s first film and then I did the pilot for Babylon 5.Have you worked with any NYU alumni or current students?
Both, and all the time. Current student Brett Banakis has assisted me on many shows, from the National tour of Camelot to Shakespeare Santa Cruz. I have used dozens of NYU grads over the years, most recently Dana Moran Williams on a couple of plays last year. But there are many names from all eras: Kevin Morrissey, Kis Knect, Jen Vogt, John Ferrell, Deborah Raymond and Dorian Vernacchio to name a few. I have often designed with other NYU grads-- recently doing Gem of The Ocean at Seattle Rep with lighting by Allen Lee Hughes (David Esbjornson was the Artistic Director.) Hope Hanafin was the costume designer on the first Season of Lincoln Heights. How did that work out? Usually very well; it’s always good to hire designers that come from a similar background and have a similar language. I prefer assistants trained in theatre for my work in film and TV. They have a sense of urgency that many film people lack and they know how to solve problems.Do you have an anecdote that you think current students and faculty would find amusing or learn from?
A faculty member (who was the subject of so many stories) told me he thought I should change my name. He told me “people won’t hire you because they will be afraid to pronounce it, or spell it.” The next day before class another student surprised me --he took one of my small sketches and mounted it on a giant poster board with my name in foot-tall letters. It was a moment of solidarity I cherish to this day.What do you find to be the most difficult part of your process and how do you resolve it?
Communication. I work at it every day. I think the true job of being a good designer is to be a good manager. The actual design part is fun, quick, and easy. It’s getting the ideas across that take time.What moment(s) of your career are you most proud of?
Opening night of my first Broadway show, getting an Emmy award, designing at the Geary theatre in San Francisco (where I had seen many great designs while growing up), being at Sundance twice with films I designed, having one of my own students nominated for an Emmy (twice). What moments (if any) would you have changed? I would have moved to LA sooner. Why? More opportunity there, better money, and better weather.How have your thoughts and concerns about this career changed over the years?
I am glad I have stayed working in the theatre --as well as film and television. Many people abandon the theatre. I think there should be more integration between theatre and film in the education of designers in theatre programs.When did you get interested in theater and how?
From early on as a child I had elaborate puppet theatres my father would help me build. My sister drew a perspective-checkered floor on a backdrop and I was hooked forever on the power of illusion. I then took “Drama” lessons and was in a lot of shows as a child actor. I started a theatre troupe in my grammar school, and my junior high and my high school.What were your influences?
Of course, my father, who was an artist and an Art teacher. I remember seeing the national tour of Hello Dolly with sets by Oliver Smith, which impressed me. I also went to see many shows at ACT in San Francisco and Ralph Funicello’s sets had a profound impact on my work. He later became a friend I respect and admire. John Lee Beatty let me assist him on a few shows when I was in school; he helped me to see the business of Broadway from the inside.What was your favorite snack that your assistant brought to you during tech?
Last year I was happy when the Art Dept P.A. got me Orangina soda.As you design and meet the challenges of being a freelance artist, are there any voices that you particularly hear from the aggregation of voices.
From school:Lloyd Burlingame: “A kind deed in a cruel world.” “ If you want something done, ask a busy man.”
Oliver Smith: talking about Paint Your Wagon: “It’s about wide-open spaces.”
John Conklin: “The research is the set.”
Arden Fingerhut: “Tell the story.”
From outside of school:
Barry Sonnenfeld: “Hey John, you’ve run out of time to fuck anything up.”
Arvin Brown: “You are like me, where ever you are, you are there 150%.”
