Thursday, January 11, 2018

R.I.P. Terence Marsh (1931-2018)

Terence Marsh
On January 9, 2018, production designer Terence Marsh passed away at the age of 86 in Pacific Palisades, California. In a career that spanned over 50 years, he created some of the most iconic and beautiful looks to various films ranging from Doctor Zhivago to The Shawshank Redemption. In that time, he helped to shape the look of epics and period pieces with some of the most distinctive looks imaginable. He leaves behind an impressive body of work that has likely captured the audiences' imagination, creating looks that define eras in ways that lead to two Oscar wins and an additional two nominations. He may not be a household name, but there's a good chance that you know his work. It's impressive work that deserves more credit and respect, as he helped to shape the world of film into his great image. 

Marsh was born on November 14, 1931 in London, England. He began his career as a draughtsman at Pinewood Studios where he worked as an assistant on Lawrence of Arabia. During this time, he would receive his first few Oscar nominations, including one for director David Lean's follow-up Doctor Zhivago, which earned him a Best Art Direction Award:

He would go on to receive his second Oscar for Best Art Direction a few years later for the Best Picture-winning film Oliver!:

As the decades continued, he would continue to branch out and try new styles of film. He moved to Los Angeles in 1975, where he worked on films ranging from A Bridge Too Far and Spaceballs. In the years to follow, he would work with director Frank Darabont on films like The Shawshank Redemption and The Green Mile. Beyond his work behind in production design, he also co-wrote movies, such as Haunted Honeymon, starring Gene Wilder. His last film before retirement was Rush Hour 2. Even if this was just a few of the films he worked on, he leaves behind an even greater body of work that's impressive in scope and design. His work will continue to be admired by new film fans discovering cinema both old and new, and will hopefully gain a deeper appreciation for what goes into making a film look the way it does.

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