TINK is a Production Designer for Features and Television, with a foundation in multi-disciplinary design for clients around the globe.
Born in Canada and having lived in Germany, France, Italy, England, Japan, Australia and Singapore, Tink settled in the west coast of North America, dividing his time between Los Angeles and Vancouver, while often working abroad based on project needs.
Throughout his wide spectrum of work, Tink is acclaimed for his originality, quality and timelessness.
What are the current projects you are working on?
I'm about to start on a wonderful feature produced by the same gang that made Juno and Up in the Air. I can't say too much about it at the moment, other than I think it will be quite special - very much looking forward to this one.
What are some of your favorite projects that you have worked on?
There's been quite a few. Spooksville was definitely one. It's a high-quality TV series produced by the inimitable Jane Startz, who has become a great friend, and written with great wit and humor by James Krieg, also now a good friend. Everything about the show was fun, from the design concept, to working closely with James in order to create story opportunities that fit within our world, and of course that world, shot on beautiful Vancouver Island in Canada - gorgeous!
Along those lines, I did a series on Singapore and Australia a couple years ago called Stormworld - created a whole alternate universe for it and traveled to some amazing places in the process. My crews were fantastic and the project was life-changing - so was Spooksville for that matter.
There are other films I have had a great time with, from working with Nic Kalikow, Sean Covel and Chris Wyatt on Concrete Blondes, to both of Tyler Shields' films and also many of the films I designed for Uwe Boll.
What's it like working with Tyler Shields?
I have a deep crush on Tyler, both professionally and personally. He's a pure creative and that fits with me perfectly. Our aesthetic senses are quite similar, as are our work ethic and process. We recently wrapped "Outlaw", his second feature, which is quite beautiful. Keep an eye out for it.
What's it like working with the cast and crew of "Spooksville"?
Love them all. Because we were working in a remote location, kind of in our own "show bubble", we spent a lot of time together and many lasting friendships have come of that. It was challenging budget-wise at times, but the energy and creativity everyone put into it was always exemplary. Big shout out to my Art Director Alyssa King, Set Decorator Terry Lewis, Prop Master Noni Peck, Costume Designer Rebekka Sorensen, plus all our Construction, Paint and Greens crews - they truly did fantastic work.
How do you come up your designs?
I break down a script and envision the world that it needs to become, then I begin a lot of research and image referencing to build a basis for ideas to design from. Based on that and the practical needs of the script, I then design the required elements. This process is quite satisfying when the projects are creative to start with and the production team allows me to think outside of the box.
What does the old adage "The devil's in the details" mean to you?
Hmmm - I never say that, but obviously it refers to the details are the strength of anything you create and taking care of them is mandatory for a successful project. I pride myself on that work ethic and I work with crew that contribute to that at even greater levels than I sometimes do myself.
Which do you prefer acting or designing?
Sometimes I'm acting when I'm designing :)
I tried acting when I was in university, but realized it wasn't my thing, but I still love being in front of the camera or an audience, as long as I'm able to be myself. I'm actually looking forward to hosting participatory opportunities to promote design and entertainment.
What advice would you give to someone who wants to get into design or acting?
Follow your passion and work your ass off. Research and learn as much as you can - from all different viewpoints. Be great with people, communicate what you want and need, and focus on that. Simple...
What would be your ultimate design be? Assume there aren't any constraints.
Hmm - ultimate always changes, but I would love to design a fully detailed alternate world - complete with a new language in visuals, architecture, costume and word - I've touched on that in some projects, and would love to build upon that.