Member Spotlight: Will Giles

What/who inspired you to start working in film?

I had a brain injury when I was 23 and had to leave my current job in architecture. I was pretty lost on what to do after I recovered, and a family friend who was an art director at the time asked me if I wanted to get into set design. I didn’t even know that was a thing. It really opened up a lot of opportunities for me creatively.

What part of your job gives you the most satisfaction?

I love that no two days are the same, every day is some crazy design brief and you’ve got to think quick and make it happen.

How do you see technology (AI, VFX, sustainability) shaping the future of our industry?

AI is definitely on the rise, especially when it comes to the early stages of production design. I’ve found a lot more people come to me with AI concept art. But the development that we put into it afterward is where the magic happens, all the refining and development to turn a concept into a real-life set build takes real human skill. I do think AI has taken a chunk of work away from graphic designers and concept artists, particularly in the early exploratory phase where they used to try and test design solutions. But it hasn’t replaced the deeper creative thinking, it’s just compressed the timeline.

How does working in Aotearoa compare to other places you’ve worked?

I just finished the classic move to London stint and just arrived back in NZ. The UK was pretty tough to break into, there was a lot of gatekeeping of jobs. A lot of Kiwi film workers in the UK were left out of work. It was, however, an awesome time to meet other Kiwis overseas and work on our own passion projects whenever we got the chance, real character-building stuff. But it’s good to be home working in the industry again alongside epic NZ crews.

Any types of projects you've worked on, or particular jobs you're proud of?

I really loved the Art Department on Rings of Power. I had the privilege of set designing Ostirith, a Morgothian watchtower that was later taken over by elves. Being able to dive deep into Tolkien lore was a huge part of the design, and getting to put a lot of Easter eggs into it was really fun.
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I also worked on a giant 9m-long crocodile for Lacoste in London. We had 10 days to design and build it and deliver it to Paris, I've never worked so fast and hard in my life.

What your creative process looks like when turning an idea or brief into a real set?

Research is everything. You might've heard of method acting well, method set design is a thing too. You have to immerse yourself in the world you're designing and give the set a past and a story that reads into the world you're creating.

One thing you wish more people understood about your department?

When you step onto a set, just know that it didn't appear overnight. It can take weeks, months, sometimes years of design and development before it hits the screen. Production design is really a labour of love.

Any advice you'd give to someone wanting to get into set design or the art department?

I think anyone with a good design brain, and a keen eye for detail can find a place in the Art Department. It literally takes an army to bring a film set to life.

Favourite filming location in NZ?

Call me biased as a South Cantabrian, but filming on location in the South is second to none. I would love to be based down there more often.