Open Forum

On 28 February, we invite you to a joint evening of conversation via Zoom at 6 pm.

The multiple award-winning and Oscar-nominated French costume designer Madeline Fontaine in conversation with the German production designer and Academy Award winner Christian Goldbeck about quality in our professions. The introduction will be given by Dutch costume designer Margriet Procee.
Quality – as a term and its meaning – is as subjective as its definition as a value. So, we do not want to talk about film as such, a specific project or already regulated or measurable quality of craftsmanship and installations in filmmaking, but our very personal approach to the ethics and quality of our work.

What kind of concept do you have concerning the quality you want to experience as part of a project (work environment, colleagues, etc.) but also concerning your contribution to the projects you are a part of? Do you reevaluate your work and the quality you planned to deliver before starting a project after all is wrapped and done? 

Besides luck, which one has to have, there’s luck that favors the prepared. How much of that luck might not only be extensive preparation but also the intentional creation of a space in which qualities such as respect, trust, openness, and flexibility of thought are seen as factors for success, rather than just soft skills for social interaction? 

Let’s talk about it!

Madeline Fontaine studied at the art school in Paris and gained her first experience as an assistant to Michéle Richter and Rosalie Varna.
Her first independent work was the costume design based on designs by Jean Paul Gaultier for the film “The City of Lost Children” (1995, Marc Caro & Jean-Pierre Jeunet). She became known to a wider audience in 2002 with the film The Fabulous World of Amélie and her first nomination for a César.
She won it first in 2005 for “A very long engagement” (Jean-Pierre Jeunet), the second time in 2009 for “Sèraphine” (Martin Provost).
In 2016/17, she won the BAFTA Award, the Circuit Community Award, the Critics’ Choice Movie Award and the Satellite Award for costume design in “Jacky: The first Lady” (Pablo Larrain). She has also been nominated for an Academy Award (USA), the Seattle Film Critics Award, the Phoenix Film Critics Society Award and the Las Vegas Film Critics Award.
Madeline Fontaine was President of our Member Association française des costumiers du cinéma et de l’audiovisuel (AFCCA) from its creation until 2021, and will become its Honorary President in 2022.

© Cosmic Agency
© Anne Wilk

Christian M. Goldbeck studied production design at the HFF Konrad Wolf in Potsdam and graduated from the University of East London with a B.A. in architecture. He works as a freelance production designer since 2001.
His production design for the comedy “Go for Zucker” (2005) by Dani Levy was nominated for the German Film Prize in 2005. Goldbeck was nominated for the German Film Prize in 2006 for the meticulously designed distorting mirror of an oppressive small-town world in the 70s: “Requiem”, and two years later for Maria Schrader’s debut feature “Lovelife” (2008), which was filmed primarily in Israel.
Goldbeck received his sixth nomination for the German Film Prize in 2016 for Wolfgang Becker’s feature film “Me and Kaminski”, he designed all of Karoline Herfurth’s feature films, including the hit comedy “Wunderschön” (2020), and Bora Dagtekin also entrusted him with the design for his box office hit “The Perfect Secret” (2019). In 2021, he recreated the battlefields and trenches of Verdun for the new film adaptation of Erich-Maria Remarque’s novel “All Quiet on the Western Front”, directed by Edward Berger.

Margriet Procee is a costume designer, born in the Netherlands, where she’s still living and working. Margriet is known for The Forgotten Battle (2020) – for which she won the Dutch Filmprice Golden Calf -, but also for her work on Ocean’s Twelve (2004) and Character (1997). Find all of her projects here.
She speaks about quality not only from the perspective of 30 years of experience, but accompagnied by 60 meters of contemporary costumes and accessories in her own studio.

© Maan Limburg