Lauren Pilozzi!

Welcome to a SPECIAL EDITION of the Piece of Advice Newsletter!

Good morning! Today, we’re looking into the life and work of an amazing art director and production designer of over 30 years; Lauren Pilozzi! I was even lucky enough to ask her a few questions! She’s really nice!

Lauren Polizzi has spent more than three decades shaping the worlds we see on screen; yet many moviegoers may not realize they already know her work. From the jungle landscapes of “Jurassic Park” to the futuristic decks of “Star Trek Into Darkness” and the nostalgic skies of “Top Gun: Maverick”, her hand as a production designer and art director has helped bring some of Hollywood’s biggest stories to life. She began her journey at UCLA, where she studied Theater Arts, but her career really took off when she joined the art department at Warner Bros. After an early job as a set designer on “Jurassic Park”, Polizzi quickly earned a reputation for precision, imagination, and the ability to make the impossible feel real.

Her career is filled with remarkable moments. On “The Lost World: Jurassic Park”, she began as a set designer but was unexpectedly promoted mid-shoot to art director; something she only discovered when her name rolled across the credits at a crew screening. That leap reflected not only her skill but the confidence colleagues placed in her ability to lead. Since then, she has worked on an impressive lineup of films, from “Forrest Gump” and “Independence Day” to “Guardians of the Galaxy Vol. 2”, “Captain Marvel”, “Indiana Jones and the Kingdom of the Crystal Skull”, and “Saving Mr. Banks”. Along the way, her work has earned multiple Art Directors Guild Award nominations, cementing her place as one of the most versatile talents in the field.

Polizzi’s career isn’t just about building worlds for the big screen; it’s also about building the next generation of filmmakers. For over 25 years, she has taught Advanced Set Design at the American Film Institute, mentoring countless artists who now work across Hollywood. A member of the Academy of Motion Picture Arts and Sciences and the Art Directors Guild, she continues to inspire through both her on-set leadership and her teaching. And she’s always quick to share the behind-the-scenes realities of the job: like the time she had to trek daily through muddy cane fields in a rental car while drafting the T-Rex paddock for “Jurassic Park”; a story that earned her what crew members jokingly called an “honorary teamster card.”

At the heart of Polizzi’s work is a love for art and storytelling that extends beyond film. She’s also an avid photographer, often drawing inspiration from natural landscapes and using her camera to frame ideas that later inform her designs. Whether crafting dinosaur enclosures, alien landscapes, superhero universes, or suburban Americana, she brings an architect’s precision and an artist’s eye to every project. It’s why her sets feel at once authentic and magical; backdrops that don’t just hold the story, but become part of it.

Bonus Questions:

Giancarlo: What was your favorite movie growing up?

Lauren: There were a few movies that made a big impression on me as I was growing up: 1) 2001: A SPACE ODYSSEY. I didn’t necessarily understand the story as I was pretty young, but found the visuals and SPFX stunning. 2) LAWRENCE OF ARABIA. As the theater was full, we reluctantly sat in the front row of the large theater so I was fully engulfed by the screen. I was floored with the dramatic imagery and epic story of the film. But others, like THE SOUND OF MUSIC, PLANET OF THE APES, THE GODFATHER, and AMERICAN GRAFFITI also influenced me. Hard to pick one favorite out of the many genres I've enjoyed. Much later, when I saw STAR WARS, and RAIDERS OF THE LOST ARK, I knew I had to work in film.  They solidified my decision.

Giancarlo: Did you have any push back from friends and family on wanting to be a designer?

Lauren: Oh yes. My parents were both designers (an architect and an interior designer) but they didn’t think working in film would be a solid enough career - especially in my early days, working for long hours and little money. They tried to steer me away from it, but I persisted. Glad I did, too. I think they were finally satisfied that I’d be okay when FORREST GUMP came out and my name was in the credits.

Giancarlo: Which of the films you worked on are you the most proud of?

Lauren: I’m proud of just surviving them all - LOL. But there are a few that stand out. JURASSIC PARK is the one I’m the most proud of. I knew from the start it was going to be something special, and am still floored at how popular the original is. I had such a good time on that film - I made lasting friends and learned things I’d use and rely on for the rest of my career. I feel a wave of pride every time I hear the theme. I’m also proud of my work on TOP GUN: MAVERICK, HOW THE GRINCH STOLE CHRISTMAS, and THE ALAMO - completely different films. But each was a pleasure to work on and challenged me on a host of different fronts. I’m very happy to have worked on so many different kinds of films.

Giancarlo: What is your favorite aspect of “Captain Marvel”?

Lauren: I must admit to you, CAPTAIN MARVEL was not one of my favorite films to work on - mostly due to the fact that a couple of the people I had to work with were difficult, and made the whole process frustrating and even tortuous at times. I was exhausted by the end for having to navigate around these people. But my friends and colleagues in the Art Department were great, as were other friends of many years in the Construction and VFX Depts., so collaborating (and commiserating) with them to create those sets was probably my favorite aspect. That, and that the movie was popular - which is always good for the resume..!  ;)

Piece Of Advice:

Giancarlo: What is this best piece of advice you’ve ever been given?

Lauren: I received two pieces of wonderful advice, and they're both about being interviewed for a job. “Know that the interviewer brought you in for a reason - they chose to meet you. And they did so hoping that you might be the one they want to hire. So they’re starting with a positive attitude towards you". And, as importantly, “When you meet them (the interviewer), this may be the best you ever see them - that they’re on their best behavior”. This stuck with me when I was interviewed by the rudest producer I’d ever met. I knew immediately I didn’t want the job - who’d want to deal with this guy every day? I could also tell by the look on his associate producer’s face that he was embarrassed by this guy. I learned later that they hired and fired several designers on that show. I clearly dodged a bullet. All that said, I have worked with a couple people who were great in the interview, and miserable in the office. But it’s good advice, nonetheless!

Check out her work: https://laurenpolizzi.com/

Thank you for reading! Have an amazing day and we will catch you again soon!

-Giancarlo