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 Jakarta Apocalypse (Live Action Film)
Suggested by nihilus
In the decaying underbelly of Jakarta, Indonesia, a brutal power struggle erupts between gangs that rule the night. Augmented with illegal cybernetic tech, these warlords settle disputes in gladiatorial pits, where flesh and steel collide in showers of neon-lit blood. But when a rogue hacker collective unleashes a digital plague, the chaos mutates into something far worse: the infected become half-machine, half-rotting husks — an army of unstoppable chrome zombies tearing through the streets. As rival factions scramble for dominance, darker forces arrive. Portals rip jagged holes in reality, vomiting demons straight from hell into Jakarta’s alleyways and night markets. The police mount a desperate investigation, only to be annihilated, shredded in the crossfire between monsters, gangs, and the supernatural. Amid the chaos rises an unlikely force — a martial arts gang of punk college dropouts, once campus bullies and street brawlers, now dragged into a war they barely understand. Their fists, once used for petty fights, are thrown against cybernetic warlords, zombie hybrids, and abyss-born demons in battles that should have killed them. With law and order extinguished, Jakarta descends into pure anarchy. Neon burns against fire, demons stalk alongside cyber-freaks, punk dropouts carve legends in blood, and gang lords crown themselves as kings of hell. Nothing can be contained, and the city itself becomes the battlefield of its own damnation. Heavy black and red color scheme
