Clint Allen | Projection Designer
Projection Designer, Clint Allen
T&D: How do you approach designing projections for a show?
Well, I approached designing this show by looking at the fact that it’s about an artist; I looked at how I’m doing the same thing in my work and I tried to apply how Seurat created his painting into my design process for this show.
The other part that was important was the Chromolume idea, which in the show is this cutting edge technology thing that George made, so I tried to use as much of the technology that I had at my disposal to create that piece of the show. Those were the main focuses of my approach to the show. As a projection designer, I really wanted to look at my design through George’s eyes.
T&D: Where do you find your inspiration while creating your designs?
Well, it always depends on the show. The show is the main inspiration for whatever is created, because that’s the story we’re telling. For Sunday in particular, it’s all based around this painting. Any time there was a question of what should be done, it all came back to incorporating the painting into the show. Not just to show the painting, but also to incorporate the color, the idea, and the feel of the painting into the world of this show without it always being literal.
T&D: What’s your favorite part of the production process?
Tech [Technical Rehearsals]; the time leading up to opening night when the designers are putting it all together. There are a lot of ideas and things that happen at that point in the process when everyone is in the room together making it happen. When I’m in my studio working, it’s all about what’s in my mind and what I’m thinking, but when we get to tech it’s all about being in the space of the show, and the exciting things that happen when you’re all working together to create the world of the show.
T&D: Where else have you done design work?
I work at Ford’s Theatre in D.C. pretty regularly; Cincinnati Playhouse in the Park; St. Louis Rep; The Alley Theatre in Houston; I did a show with the Washington Ballet this past spring. I mostly work with major regional theatres all over the place.
T&D: Who was a mentor of yours?
That’s hard to say. In the world of projection designers, there are so few of us that it’s really about finding your own way, but at the same time people in the theatre that aren’t necessarily projection designers are the ones I think of as great mentors. Pat Collins comes to mind; she’s an amazing old school lighting designer. Hugh Landwehr, was an excellent mentor, he’s a scenic designer. I worked on a couple of shows with other projection designers, but it was more about collaboration than mentorship. I’ve also found that directors can be excellent sources of guidance in how to approach a design. I’ve found that you can pick up something new from just about anyone you work with in the collaborative environment of the theatre.
T&D: What has your experience been like working with the students in our department?
This department has students that understand a lot of the technical details of theatre, and making theatre. They seem genuinely interested in the process of creating. It’s great that everything here is set up very much like a professional theatre experience, so these students have access and exposure to that environment and that training while they’re in school. Sometimes schools don’t have that level of organization and experience to put forward, so it’s been really nice here that everyone knows what’s going on and is invested in what we’re working towards, not just trying to complete hours for a class requirement.
T&D: Lastly, what is your favorite kind of candy?
Whatever kind is in front me! I’m not a big sweets fan, but I’ll totally eat it if it’s right there. I guess my first choice would be a Snickers bar, because it satisfies; second would be a Whatchamacallit, probably because of its name.