About the 7th edition
100%
CURTAIN
Anne Seibel, behind the scenes
A graduate of the Ecole Spéciale d'Architecture in Paris, Anne Seibel began her career on english-speaking productions in 1985, working with Serge Douy's team on James Bond: A View to a Kill.
This was followed by collaborations on films with prestigious directors such as Richard Heffron’s La Révolution Française, Serge Gainsbourg’s Stan the Flasher, Michel Drach’s Il est génial Papy, Gérard Jugnot’s Casque bleu, Renny Harlin’s Cutthroat Island, Randall Wallace’s The Man in the Iron Mask, Tony Scott’s Spy Game… She has also worked with some of the biggest names in the industry: Steven Spielberg's Munich alongside Avatar set designer Rick Carter, her mentor. David Frankel's The Devil Wears Prada, Brett Ratner's Rush Hour 3, Night Shayamallan's The Happening, Stephen Sommers' G.I. Joe: The Rise of the Cobra and Clint Eastwood's Hereafter.
Her first French film was Lisa Azuelos' Une Rencontre. She then worked with Agnieska Holland on Rosemary's Baby, an American mini-series for Lionsgate. Followed a second French film, Alexandra Leclère's Le grand Partage. In early 2015, she worked with Jean Pierre Jeunet on Casanova for Amazon, then with Eleanor Coppola on her first feature film, Paris Can Wait, a road movie shot in France. In 2018, she designed the sets for Ralph Fiennes' film The White Crow, which earned her a BIFA (British Independent Films Awards) nomination.
In 2019, Damien Chazelle asked her to design the sets for his first television series, The Eddy. Darren Star's Emily in Paris earned her 3 nominations for the Art Director Guild Awards, the Set Decoration Awards and the Emmy Awards in 2020. She worked on the series The New Look, directed by Adam Todd Kesler for Apple and shot entirely in Paris.
She co-presented a conference on costumes and sets with award-winning Costum designer Mimi Lempicka at Le Capitole.
