![]() “The concept of the set was just amazing,” he says, “the way the curve and the whole composition of it. Recently, Creber went to the archives at Fox to look at photos of the set. But Nathan would be the one who was working with Ford to figure out what it was he wanted.” As leads of the department they were directly influencing what was going on. ![]() Now based in Santa Monica, she is licensed to practice veterinary medicine in both New York and California. The supervising art directors were running the machine. Susan Greenbaum recently moved to California from western NY. Skilled in Veterinary Medicine, Client Education, Employee Management Consultation and Training, Animal. It was all plaster and pretty much expendable material.”Įventually, most of the set was destroyed in a fire, and what remained was torn down.ĭuring the studio system, a supervising art director like Day would generally assign projects to an art director, says Walsh. Experienced Veterinarian with a demonstrated history of working in the veterinary industry. “In those days they weren’t using fiberglass. and was a supervising art director for several years at 20th Century Fox, the studio that produced “Green.” Other credits include “A Streetcar Named Desire” and “On the Waterfront.” Nominated for 20 Oscars, he won seven.Ĭreber, whose father, Lewis Creber, was an art director at Fox, joined the studio in 1955 - Day gave him his first big break as an assistant art director on the 1965 religious epic “The Greatest Story Ever Told.”Īt the time, the “Green” set was still standing in Malibu, but “it had deteriorated,” Creber recalls. He also worked for United Artists, MGM and Warner Bros. During the 1930s, he was the art director for Samuel Goldwyn, designing the majority of Goldwyn Studios’ productions for eight years including “Whoopee!,” “Dodsworth” and “The Goldwyn Follies.” He began in the silent era as Erich Von Stroheim’s designer in 1919-20.
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