Age: 55
male
James Chinlund (born March 17, 1971) is an American production designer. He was born and raised in New York City and studied fine art at CalArts in Los Angeles, with a focus on sculpture and large-scale installation artworks. After graduating, Chinlund returned to New York and started his career in film, first as a carpenter, before finding opportunities as a production designer on music videos and independent films. During this period he first worked with frequent collaborator Darren Aronofsky (Requiem for a Dream, The Fountain) in addition to other directors in the New York independent film world, including Todd Solondz (Storytelling), Paul Schrader (Auto Focus), and Spike Lee (25th Hour). After a short break from features to help care for his young daughter, Chinlund returned to the feature world in 2012 to work on The Avengers for Marvel, which set a record for the highest-grossing opening weekend ever. Since then he has been nominated six times for Art Directors Guild Awards. Two for his work on the Fox films Dawn of the Planet of the Apes and War for the Planet of the Apes, directed by Matt Reeves, and most recently for his work on The Lion King, directed by Jon Favreau, which was the first feature film ever shot entirely in virtual reality. Over the years, James has been active in the commercial and fashion worlds as well. Collaborators include Inez van Lamsweerde and Vinoodh Matadin, Rupert Sanders, Spike Jonze, Marc Forster, Lance Acord, Gus Van Sant, and Harmony Korine. James was a production designer on The Batman, directed by Matt Reeves, which was released on March 4, 2022. Description above from the Wikipedia article James Chinlund, licensed under CC-BY-SA, full list of contributors on Wikipedia.
James Chinlund
Production Designer
for Production Designer in Black Mask: The Gore King (Live Action Film)
Suggested by nihilus
In Gotham’s endless night, Batman is gone and the city has rotted into a slaughterhouse carnival ruled by Black Mask, a sadist who transforms murder into performance art. His cult of killers parades through the streets, ripping spines from bodies, splintering bones, and showering alleys in arterial spray like confetti. Civilians are butchered without mercy, most rival gangs are annihilated in torrents of gore, and the Bat Family is hunted down and brutalized in public displays of mutilation, their corpses left as trophies. Only the most depraved gangs endure, bowing to Black Mask’s reign and joining the nightly carnage. Professor Pyg’s Dollotrons and his gang of pigs haunt the shadows, grotesque parodies of heroes mocking Gotham’s fall while the real ones die screaming. Each murder is staged as a fatality, each dismemberment a ritual of ecstasy for Black Mask’s followers. The blood tide builds to its final crescendo as his army storms GCPD headquarters, turning the precinct into a cathedral of gore where every cop is butchered and displayed. By dawn, Gotham belongs to sadists and monsters alone, and with Nightwing dead leaving Blüdhaven defenseless, Black Mask and his allies set their sights outward—dreaming up demented plans to shatter Metropolis and drag even Superman into their kingdom of horror.
