Lucie Fournier - Key Sculptor, moulder and plasterer

Translated from French

WHAT IS YOUR JOB? HOW WOULD YOU DESCRIBE YOUR WORK?

I’m a key sculptor, molder and plasterer. My work has two parts: administrative and creative. The administrative part involves evaluating the cost of a project, including labour and processes, in line with the budget established by the supervisor. Once the costs are approved, we embark on the artistic creation phase. My team and I design original sculptures using a combination of materials—plaster, styrofoam, plastic and so on. We often make a miniature model before making the full-size version. Each sculpture presents its own challenges. The essential skills in our profession are a keen eye, team spirit and a willingness to learn. Regardless of the scale of the project, we put a tremendous amount of time, effort and energy into making sure the result is just right. The devil is in the details! In fact, people often think that our work was produced by a robot or a computer. The actors’ performances can be more convincing when the sets are realistic; it makes it easier for them to get into character.

My team and I are rarely on the set. Our work has to be done before shooting starts. If there’s no decoration, there’s no shoot. So we don’t really have to be on the set. We also need a very large workshop, such as a warehouse or garage, to work in. Our creations often take up a lot of space, and there are a number of us on the team. We regularly work with the other art departments; we’re the bridge between construction and painting. We also work with special effects, props and other related departments.

WHAT PART OF THE JOB DO YOU LIKE THE BEST?

The creativity and the challenges! It’s in my blood. I’ve particularly enjoyed creating sculptures, such as Gargamel and the two fairies for The Smurfs. Studying animation has also helped me broaden my field of expertise and add more variety to my work.

WHAT WAS YOUR FAVOURITE PROJECT?

A few come to mind, including The Mummy: Tomb of the Dragon Emperor, Journey to the Center of the Earth and the three X-Men films I’ve worked on. They were all rewarding experiences. Each of those shoots had different challenges, and it’s precisely the stimulation and the drive that motivate me and make me want to stay in this business.

However, The Smurfs 2 stands out a bit from all the others, largely because of the vision and personal values of the production designer, Bill Boes. He’s a very creative, kind, inclusive man, and most importantly he respects our department. We were all happy to work like crazy to meet his needs. He even took us to the set to see the end result of our work. Not everyone does that.

IS THERE AN ANECDOTE ABOUT YOUR WORK THAT COMES TO MIND?

After The Mummy: Tomb of the Dragon Emperor was completed, some of the terracotta Chinese soldiers that my team and I made were sold. I’d never have thought that people would be interested in buying such large sculptures to decorate their homes. They ended up all over the world, from Australia to Egypt. Sometimes we forget the magic we create with our work!

HOW DO YOU SEE THE FUTURE OF THE PROFESSION?

Recognition of our work is essential to guarantee the future of our trades. The continued existence of our department is directly dependent on it. I’d like people to know more about the nature of our work. Many people don’t know exactly what we do. Unfortunately, on some Quebec films, sculptors, molders and plasterers are not used: we’re hired as painters and work as part of the painting team. This devalues our work and devalues the sculpture and molding department. The people running a production need to realize that sculpting, plastering, molding and making the coverings on structures isn’t really the work of the painters. In an ideal world, the paint crew would come in and put the finishing touches on our work. When a rock face is created by painters, the end result is radically different than when it’s created by sculptors and molders. These are two very different visions and areas of expertise.

If only it were possible to end the rivalry between departments and make it a team effort. Pooling all our strengths and skills would not only improve our decorations but also our working relationships and make for a more harmonious environment.

WHAT WOULD YOU SAY IS THE QUEBEC AUDIOVISUAL INDUSTRY’S GREATEST STRENGTH?

Technicians are the backbone of the film and TV industry in Quebec! The people who have experience and talent are ready and willing to pass on their knowledge to the next generation. Here, we have the opportunity to work in different departments, which gives us a much better view of the whole. In the U.S., it’s much more hierarchical and static. Being able to move between departments in Quebec is a strength; it pushes us to be resourceful and versatile.