The OM Interview with Katie Gormley, Television and Film Art Director
Katie Gormley attended Queen Mary’s School from 1988 – 1995, along with her three sisters. She then studied A levels at St Peter’s, York, before studying Social Policy and Anthropology at Manchester University. We spoke to Katie about the impact Queen Mary’s had on her education and career, and gained an insight into her role as Art Director of TV and film productions, including Black Mirror, Starstruck and The Thief, His Wife and A Canoe.
What was your first impression of Queen Mary’s?
I think it was: ‘Wow! Is that beautiful building actually a school?’. The long drive was very impressive and I wasn’t sure what to expect. I felt quite intimidated but I remember being surprised by how friendly and welcoming all the girls were.
How would you describe your time at Queen Mary’s?
I absolutely loved it. I often say that Queen Mary’s was undoubtedly the making of me. There were so many positive things about the ethos of the school that have stood me in very good stead with my work. I think what stands out for me was the way we were encouraged to be independent thinkers; we were never put into a box. The culture of joining in with everything was cool at a critical age. It made us feel that we could do anything and enjoy the experience, whether or not we were the best at it. It was brilliant to feel so free in ourselves that we could try everything out. Lots of things were encouraged or celebrated and it felt like we had a lot of free time to explore and be creative outside.
Which members of staff had the most influence on you during your time at school?
Mr Burnham instilled a great love of history in me. So often when I’m working on a period drama I think of him and think how relevant his teaching still is to me. Mr Carter was so passionate about his love of music. All the choir rehearsals, the training and frequent public performances we experienced as singers were really excellent training for me. I often have to address large groups of people at work but that is not something I worry about – it’s as though something comes over me and it actually feels very natural to be semi performative. I definitely think I have Mr Burnham’s plays, Mr Carter’s choir performances and Mr Buttery’s debating competitions to thank for that confidence in speaking to larger groups.
Finally, I think the building of Baldersby Park itself had a massive influence. My job often involves working in stately homes. These spaces have the potential to be quite intimidating, but having spent so much time living at BP I feel very relaxed in these environments – still respectful, but also able to be flexible in these types of spaces.
What were the biggest lessons learned?
We learned the benefits of working hard and how great it feels when you apply yourself. We were taught how to enjoy learning and how to have fun with it simultaneously. I think back and have really happy memories. Queen Mary’s gave me confidence in myself. I think all OMs have a bit of a Queen Mary’s ‘twinkle’ – the ability to work hard and laugh simultaneously. It’s a quality that not everyone has but it’s something that has really helped me in my line of work.
How did you embark on your career?
After Manchester Uni, I worked in London in a variety of jobs then travelled for several years. I then temped, worked as Personal Trainer, did all sorts of jobs. Friends from uni were working in TV, and one got me a job working as a runner on a cooking show. I didn’t love the show but I loved the work and moved on to other shows to work as a runner there. One day I was working for the BBC production of The Diary of Anne Frank when I walked on to the set and saw a complete replica of Anne’s hidden apartment. Everything about it had been so carefully recreated with period textiles and antique furniture from the period that it actually smelled old. I had a sort of out of body, visceral reaction to being on the set. I couldn’t believe that building something like this was somebody’s actual job and how lovely the people doing that job were. I immediately knew that this was something I had to do. However, I had no artistic qualifications whatsoever and had a terrible fear about moving into a new direction. I was 27 by this point and all my friends were beginning to be established in their lives and I felt worried about starting over again. A very wise person told me just to go for it, so I resigned from being a runner, got a job in a bar as a waitress, contacted the people I’d met on the set of The Diary of Anne Frank and asked them for some work experience. I worked for free, then as a trainee, and bit by bit I did courses when I could afford them, in technical drawing, AutoCAD. I felt a natural aptitude for what I was doing and I was specific about developing my skills. I was lucky in that I was supported by some really great people who saw something in me and gave me a chance.
Can you describe a typical day?
As an Art Director, we build sets for TV and films. My role is almost the architect of the set – I oversee the walls, floors and all the large fixtures of the set. When we filmed The Thief, His Wife and a Canoe, we built two, three story houses that were linked together with secret doors (using these doors was how John was able to stay hidden for so long). The set was huge. Seeing that come to life was incredible! The role of an art director is very varied so there is no typical day. I may be looking at scripts, breaking them down, overseeing construction, liaising with the set decorator and designer, scheduling, or creating technical drawings. I can be anywhere – from the sound stage at one of the studios (where we build the sets) to a palace, or an industrial estate. Oh, and I spend a lot of time in my car.
What advice would you give to anyone starting out in art direction?
You must learn to drive! It’s absolutely crucial – locations are everywhere and anywhere so public transport is often not an option. Train yourself on computer programmes such as SketchUp. You need to have a keen interest in watching dramas and films.It helps to start to look at how things are put together analytically. Getting on in this industry is all about getting exposure, which ideally comes from work experience. There are now lots of studios in Leeds and Manchester. ScreenSkills.com also offers some great training online and advice on how to get started. It’s often worth getting in touch with the designers from the shows that you like. You could email them asking if anyone in their department could speak to you and give you advice on getting started. Ask intelligent questions to people in the industry and you just never know where it might lead. You need to be tenacious, hard core, amiable and interested.
What are the best and worst bits of your job?
The best part is walking on to a set when everything is coming together, everyone is working hard and the design you envisaged is coming to life – it’s an incredible feeling. When you finally see your set dressed, it’s fantastic. The downside of the job is spending much of my time driving around the M25 – on a near daily basis! The uncertainty of the job can also be difficult. All the jobs are freelance and it’s tricky not knowing where or when the next job will start. Sometimes you back the wrong horse. I committed to one job then was offered I, Daniel Blake but had to turn it down! I’m still gutted all these years later.
If you could travel back in time, what advice would you give to your 13 year old self?
I think I’d tell myself to take Art GCSE and to trust my gut more about the things I was good at. I’d also tell myself not to spend so much time worrying about my curly hair – hair products are going to improve massively over the next two decades!
