Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. With a nod to the 1950s family home and the nostalgia of decades past David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. Focusing in detail their production structures, this research seeks to better understand the intricacies and logic that committed to the production and distribution business history of only Brazilian films, marked by a continued stability, during over nearly half a century But advances in time a bit longer, because Massaini left successors still active. The period covered begins in the 1930s, with the presence of Oswaldo Massaini at the Cinédia, which began in 1937 and ends with the succession of the Cinedistri to Cinearte in the 1980s.

He was the producer of 'O Pagador de Promessas' in 1962, the only Brazilian film to be awarded, to this date, with the Palme d'Or at the Cannes Film Festival. Focalizando em detalhe suas estruturas de produção, esta pesquisa procura conhecer melhor os meandros e a lógica dessa trajetória empresarial comprometida com a produção e a distribuição de filmes unicamente brasileiros, marcada por uma continuada estabilidade ao longo de quase meio séculoĪbstract: This thesis consists of a survey on the history of the production and marketing of filmed entertainment in Sao Paulo, taken as a specific aspect of the history of Brazilian cinema and electing as the protagonist, or central axis of the narrative the trajectory of Oswaldo Massaini and the firms to which he was bound: the Cinédia and especially the Cinedistri. Mas avança no tempo um pouco mais, porque Massaini deixou sucessores ainda em atividade. O período abordado se inicia nos anos de 1930, com a origem da Cinédia onde Oswaldo Massaini ingressou, em 1943, e termina com a sucessão da Cinedistri pela Cinearte na década de 1980. Foi ele o produtor de O Pagador de Promessas em 1962, o único filme brasileiro a ser agraciado, até hoje, com a Palma de Ouro do Festival de Cannes. Resumo: Esta tese consiste num levantamento acerca da história da produção e da comercialização de filmes de entretenimento em São Paulo, tomada como vertente específica da história do cinema brasileiro e elegendo como protagonista, ou eixo central da narrativa a trajetória de Oswaldo Massaini e das empresas às quais ele esteve vinculado: a Cinédia e, principalmente, a Cinedistri. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Orientador: Fernão Vitor Pessoa de Almeida Ramos

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