Here, Rudy talks to Good Things about his personal rebellion against modern technology, spreading positivity and why remixing all aspects of life is so important.

Before becoming a multifaceted creative, you spent a decade as an advertising copywriter. What did you take from that role that informs your current practice?

I have no formal training in design or photography, so advertising was my art school. That’s where I developed my creative muscle and learned how to work with clients. It’s hard to imagine running my business today without that experience.

You work across collage, found imagery, and public space. What drew you toward making art this way? I’ve always been obsessed with street art. I love the way you can reimagine the space around you and create something completely new. I also love pop culture, so using imagery from movies, TV, music, and sports is a way for me to be part of that space. I love mixing things together and seeing what happens. I make music that way as well, combining different samples, synths, and instruments to create an audio stew. I even eat food that way! Ever tried tater tots on a pizza? It’s good.

Your work is intentionally low-fi, with primary tools being paper, scissors, and your imagination. Why is this so generative for you?

It’s my own personal rebellion against modern technology. Everything is so digital these days, but I still think handmade stuff looks better!

Can you talk about why audience connection is so important for you?

Having your art connect with an audience is one of the best feelings in the world. My goal is just to add a little bit of positivity and happiness to their feeds! And maybe help them see the world in a new way.

When you start a new piece, where does it usually begin — an image, a phrase, a feeling, or something you’ve physically found?

I have a giant list of ideas that I’ve been adding to for the last 10 years. A lot of times, it’s me looking through that list and matching it to something that’s going on in the world right now. For instance, I have “latte art animation” on my list. Then Sabrina Carpenter’s “Espresso” became the #1 song in the world. So then I recreated her performance with 150 cups of latte art! It always depends, though, who knows where ideas come from? They just pop into your head!

What role does humour play in your work? Is it a tool, a byproduct, or something you consciously protect?

It’s not something I’m doing consciously, but it probably stems from my love of memes. There’s some incredible creativity in the world of memes!

How has social media changed your relationship to sharing work — both in terms of reach and pressure?

Social media has enabled my art to spread and to be creative for a living, which is a dream come true! At the same time, it is hard to be at the mercy of an algorithm. I read somewhere that 0.1% of all posts online go viral. And my job is to go viral. It’s a lot of pressure!

What does collaboration look like for you — whether with brands, institutions, or other artists — and what makes one feel genuinely aligned?

One of the best things about being a digital creator is that brands generally give you a lot of creative freedom. You’ve proven you can make content that connects with your audience, so brands let you do your thing for the most part.

What’s something about your process that people might be surprised by?

We’re a family-run business, and the only employees are my wife, my father-in-law, and me! And sometimes my 5-year-old daughter.

How do you balance playing with trends vs longevity?

It’s important to be on top of trends, but also to put your own spin on things. Originality is what enables long-term success.

What’s one small ritual you have before digging into a day’s work?

I read a page out of “The Daily Stoic”, then proceed to forget everything I’ve learned and stress out all day!

Which project are you most proud of and why?

I loved working with Whole Foods. It was a big TV campaign that ran for almost two years. A lot of digital work is hot for a week, and then you never see it again. This one had longevity, which was nice. I also love working with Fred Hutch Cancer Centre, a cause near and dear to my heart.

Which project challenged you the most and why?

I made a mural of the old Seahawks coach, Pete Carroll, out of gum. I was chewing bubble gum for about 8 hours straight and couldn’t move my jaw afterwards. Sometimes you must suffer for your art!

What are you most hopeful for in 2026?

A Seahawks Super Bowl win. - You Got It!

Rudy’s Five Good Things

A great film that inspires you?

I love Twin Peaks, both the show and the movie. We live in the town where it was filmed!

An album or podcast you often play in the studio?

I’m into this app called Radiooooo. You pick a country and a year, and it plays whatever music was on the radio at the time. It’s like audio time travel!

A book you return to?

I’ve been reading a lot of non-fiction about Arctic Exploration. I just finished the book “Endurance”. When I’m stressed, it reminds me to shut up and get tough!

An artist who inspires you?

The art collective MSCHF

An exhibition that changed how you see/think/feel or create?

The Sphere in Vegas blew my mind. I love when humans go big like that!

https://www.giantartists.com/artists-rudy-willingham-commissions

https://www.instagram.com/rudy_willingham/

To date, she’s produced shoots with up to 200 talent. She’s crafted shoots in airports, hospitals and mountain faces and in Central Park and on Shibuya crossing in Tokyo.Through everything she does, Amy is deeply invested in cultivating the right environment for meaningful collaboration and innovative storytelling to thrive, serving her mission to push culture forward.

Here Amy talks to Good Things about building teams, creating the right tone on set and how her new short film Touch is doing on the festival circuit.

When did you first get interested in production? Why did you feel compelled to start a production company?

I first became interested in production during my second year at university, where I was studying Fine Art. Alongside my degree, I started working with a photographer and essentially interned with him for about a year, before moving into full-time work while finishing my studies. That experience was a real introduction to the industry — to what actually happens on set. Seeing everything behind the scenes was incredibly exciting and eye-opening.

I also worked across lots of different roles early on, which was hugely important for me. I learned lighting basics, worked as a digi tech, ran jobs and assisted in production. All of those roles taught me to truly appreciate how many people and moving parts it takes to make a shoot happen. Production is never about one person; it’s always collaborative, and that understanding really shaped how I work today. Over time, I developed a strong desire to build something of my own — a company where I could shape that would embody my values.

How do you define the company? What’s your specialism and why?

My specialism sits at the intersection of production and casting, with a strong focus on real people and authentic storytelling. I get to surround myself with collaborators who push me creatively, inspire me, and who I genuinely enjoy spending time with. My mission has always been to build a company that reflects a deep sense of community and collaboration. This industry can be demanding! There are stressful days, long hours, and a constant expectation to operate at full speed. That’s the reality, and I don’t underestimate how hard people work to make that happen. But I think it’s easy to lose sight of how fortunate we are to be doing something we care about. Good Things Happen was built to hold onto that perspective.

Tell us about the GTH team, and how the production process works around the world?

Good Things Happen operates globally, with offices in New York, Los Angeles, London, and Barcelona, alongside a trusted network of collaborators in cities including Paris, Austin, Vancouver, Tokyo, Melbourne, and Cape Town. This global footprint allows us to adapt quickly and thoughtfully to a wide range of briefs, wherever a project needs to happen.

What’s really important to me is staying very close to every project we take on. Clients always have a clear, consistent point of contact, and I make sure I’m deeply involved throughout pre-production and available whenever support or decision-making is needed. I think that level of connection helps clients feel understood, supported, and confident in the process. Beyond that, the strength of GTH really comes from our teams. We work with incredible crews and long-standing collaborators around the world, and we’re very intentional about how those teams are built. On every production, our crews are always made up of at least 50% women — something that’s core to how I run the company and how we approach production globally.

Creating the right dynamic on set is a nuanced art - what makes a day run great?

I think it can actually be quite simple. Borrowing a phrase from the brilliant artist Anthony Burrill: work hard and be nice. If everyone arrives on set with that mindset, the day is already set up to be a good one. Beyond that, a great day on set is about trust. Letting people do what they’re there to do. Over my 15 years in the industry, I’ve seen that things tend to unravel when too many people try to control every detail. The most successful productions are always the ones where experienced crew members are trusted to bring their expertise to the table.

Tell us about one of the most complex projects you have pulled off?

Some of the most complex and formative projects I’ve worked on were during the pandemic years. In 2020, I was very fortunate to secure a key client and produce several large-scale projects at a time when most production had come to a complete standstill.

We were shooting as early as April 2020, when very little was known and every country was still figuring out its own rules around permitting, safety, and what production could even look like. The landscape was constantly shifting, and much of the process involved navigating new regulations in real time, often with limited precedent to rely on.

Those projects required an entirely different way of producing. Clients were remote, crews were reduced, and the absolute priority was ensuring everyone felt safe and supported on set. People were understandably anxious, but also deeply grateful to be working at all. There was a real sense of care and responsibility that ran through those productions.

What production job are you most proud of?

One of the production jobs I’m most proud of is a personal film I worked on last year called Touch, in collaboration with director Sam Robinson. It was a very special project—both creatively and emotionally—and one that I was closely involved in from start to finish.

The film explores the idea of touch, and how, after years of distance, physical connection became something to celebrate again. At its heart, Touch is about human closeness, with the kiss as the most distilled expression of that connection. The project took us across Los Angeles, London, Tokyo, and New York, where we worked with over a hundred real people including individuals, couples, families, and friends.

The setup was intentionally stripped back. We worked with a very small, agile crew, essentially a core team of four, which included Sam as director, Rasa Partin as DP, and a small rotation of brilliant first ADs in each city. That simplicity allowed us to move freely and connect genuinely with the people we were filming.

It’s currently on the festival circuit, and I’m really looking forward to sharing it more widely soon.

Credits:

Director: Sam Robinson
Creative Producer: Amy Fletcher (Good Things Happen Productions)
Casting: Anecdote
Director of Photography: Rasa Partin
Editor: Benji Gerstein
Words: Ariella Estoria

Amy’s Five(ish) Good Things:

A great film that inspires you?

I have different films for different moods…. Nomadland - The casting of real nomads in this film is incredible. Such a beautiful project. Marie Antoinette - Just the sets and the costumes and the shoes and the cakes and the BTS of this film is amazing. First Monday in May - Now quite old (10 years wow!) but I love this documentary. Just to see the process behind the scenes and the planning and the creativity behind the Met Gala. I need a remake of this.

An album or podcast you often play in the studio.
I got a record player last year and something about the process of playing a record is very calming. I love Ma Fleur by The Cinematic Orchestra.

A book you return to [can be art, fiction, non fiction]

I dont really have something I return to… But I have really increased my reading hours this year as I try to replace doom scrolling with reading!

An artist that inspires you?

Alex Prager

Your favourite shoot snack

The classic Welch’s fruit snacks … always.

Here, Sam talks to Good Things about his unique approach to storytelling, his latest film, ‘Touch’ and why great work ultimately comes down to meaningful collaborations.

I wanted to start by talking about storytelling in photography and film. I’m curious how they overlap or inform each other, if they do?

They definitely do. It took me a while to realise quite how heavily film influenced my photography as a whole. You learn a lot when you work with other people, and what I’ve noticed works well in film, as well as stills, is creating environments where people can be themselves or their character, but with a sense of freedom. My photography has never been rigid, posed, or still. It was intuitive to me from the beginning to ensure stories could be told in a fluid way, which is very similar to filmmaking.

Building genuine relationships through collaboration and creating a safe environment for connection are at the core of all your work. Could you talk about that approach and why it’s so critical for you?

Honestly, it’s the only way I know how to do it. Collaboration is the foundation on which all my projects are built. We all have ideas, but for me, a great idea comes from bouncing it around with other people, hearing their vision on the brief, and working together. My ears are as important as my voice, and I really enjoy that back-and-forth, understanding what makes ideas resonate more deeply with people. When I’m working behind the camera, I have the same approach. I spend time with talent before the cameras start rolling. Creating a moment comes from getting to know each other and taking the time to understand each other a little more.

I’m really interested in the transition from building a career to maintaining it, as it requires different skills and approaches. As you settle into your career as an established image maker, it becomes about finesse. What makes someone a master of craft is often born in the details. These could be things that most people wouldn’t even notice, but give a seamless experience to the creative process. I always think of you as someone who has worked hard to cultivate that attention to detail and, in turn, creates a truly unique experience on set for the team, clients, and talent. What is also interesting is how you lead with openness, creating a non-hierarchical structure on set, which brings out the best in everyone. Having worked on hundreds of sets around the world, I know this is rare!

Well, it’s so interesting you say that, and I appreciate that. I have obviously witnessed environments in our industry that aren’t like that, too. For me, this approach you’re describing is intuitive; it’s what I’ve noticed over the years that gets me to the result I’m happy with. In many ways it’s the same role I play within my family and friendship groups as well. When I started working, I realised that most people come to set with feelings of the unknown. There’s a bit of insecurity, not knowing how the day will go. Beyond the job, people have different things going on. They may have had difficulty getting their kids to school, or something personal might be going on. So I always try to create a space where people can feel free from the day-to-day pressures of life, collaborate, and have fun! I’m proud to say, we’ve built teams all over the world who align with our values, so no matter where we shoot, we can create this energy together.

It’s interesting to me that you mention transition. Often, when you do interviews, people ask ‘How did you get into it? But I’ve been doing this for 20 years now, so how I got into it is almost irrelevant. It’s how I stay in it and how it stays exciting and dynamic, which is important to me now.

You have had a couple of big studios over the last two decades: The Shop and now The Papermill, which were creative hubs with studios, coworking spaces and other creatives all working under the same roof. This felt very radical at the time. What drew you to creating these spaces?

My constant motivation is to keep learning and keep innovating, and a lot of that comes from the people you surround yourself with. I’ve been reflecting lately on how important having the studio was. Having assistants and a wider team of collaborators around meant that you were always in a space where learning came from teaching and teaching came from learning. We would all learn and grow together, and that was lovely. As a director and as a photographer, you have a strong vision, but being able to learn from the people around you and not only accept change, but also embrace it and enjoy it is so important.

I wanted to ask you a question relating to travel. Whenever you book a job, anywhere in the world, you always do at least one test after the job. This is unique, and I was curious where that discipline comes from.

If I’m going somewhere for a project, then I should make the most of immersing myself in that culture and find something to document. Sometimes that’s born from a location we stumble upon that intrigues me, or something I’ve read about that we research. It’s about trying to find a hidden story or a new way of telling one.

Before we finish, I wanted to ask you about Touch, this beautiful film you recently made. It was a complex shoot, featuring a cast of 100 people across Los Angeles, New York, Tokyo, and London. It’s already been included in many film festivals around the world. Please tell us a bit about the project and how it evolved during production.

The film was born from a very simple observation post-COVID, realising how much we all missed touch and how connection really is the centre of our humanity. Five years on, the world feels increasingly more divided, and the film has come to represent something more potent: the urgency of human connection.

The project began to take shape when we started meeting people we wanted to cast, and it turned into this beautiful and energetic collision of culture, history and experience. For us, Touch isn’t singular; it can conjure everything from the hardest parts of being human [loss and grief] to the greatest [the thrill of a first kiss to finding the love of your life]. We wanted the film to encompass a spectrum of stories, told by and for the people who experienced them.

The film took four years to make, not just because of the global logistics, but because it took time to cast and shoot so many different stories. We met people through friends, through social media, and also spontaneously on the street. We then followed their personal stories, shooting in their homes, favourite places or in random spots out in the world. The film is soundtracked by LA-based spoken-word artist Arielle Estoria, who also stars in it and wrote the poem in response to it. It’s been such an incredible experience to see the film grow beyond anything I’d initially imagined.

Sam’s five good things:

A great film that inspires you?

La Haine, it’s been 30 years now since it came out and changed my life forever.

An album or podcast you often play in the studio?

I have an amazing DJ friend, Tim Martel, whom I have known for many years, and he makes me a new mix every month.

A book you return to?

Jonathan Livingston Seagull by Richard Bach

An artist who inspires you?

Bridget Riley, William Eggleston and Sebastiao Salgado. They all inspire me for very different reasons, but are all big influences in my life.

What’s one small ritual you have before stepping on set?

On the morning of a shoot I am focusing on being positive and grateful, and bringing that energy to set. Outside of that, I play great music loud!

https://sam-robinson.com/

https://www.instagram.com/sam_photography/

Here, Annie and Hannah talk to Good Things about how they got started as a duo, navigating trends versus longevity and why great styling ultimately comes down to meaningful collaboration.

Individually, how did you become interested in styling?

AC: I’ve always been interested in fashion since I was a kid. I like to think I have an encyclopedic knowledge of fashion. I studied apparel design & production, as well as PR, in college and completed a brief internship in fashion PR, which enabled me to connect with a stylist who got me on a few Gaga projects as an intern and later hired me to work for Maryam Malakpour, Katie Shillingford, and others. One thing led to another…

HG: I’ve always been drawn to clothes as a form of self-expression. When I was about four years old, my grandma Caroline took me to Nordstrom, and apparently, I scoured all the racks until I found the perfect dress. I’ve always had a love for fashion, but didn’t consider it as my career path until I was in my senior year of college.

How did you become a duo? What motivated you to work together?

AH: We assisted together, so our workflow and method were the same. We both came in with our very individual aesthetic, and collectively it turned into something more unique and specific. It’s constantly changing as we grow, but still an equal blend of both our pov.

What do you think being a duo offers you that perhaps you wouldn’t have if you were solo creatives?

AC: Firstly, the two perspectives force us to constantly expand and challenge the way we look at things through each other’s lenses. We are two individuals with different strengths, so we are able to offer a wider range than one person alone, which is, you know, good for business.

HG: Two heads are better than one, and working together always pushes the vision further. It’s a real honour to collaborate with a best friend and share in all of our ups and downs.

When a new brief lands, where do you start? Do you build from references, story, character, or something else?

AH: As it pertains to advertising or celebrity, we usually start with references so we have something tangible to bring to an internal dialogue between Hannah and me, to present a unified front to the client that reflects us both.

How do you divide roles between the two of you — is it intuitive, or do you each have distinct strengths that you play to?

AC: We’ve been doing this together for over ten years. At this point, we are pretty tapped into who’s going to lead on what. That’s generally based on strengths, relationships with the client and any gravitational pull one of us may feel to the project. If one of us is chomping at the bit for a project, who are we to stand in one another’s way? We’re here to nurture that, so it works out well.

HG: We can read each other’s minds and anticipate what’s next, which is so cool. Our roles are constantly evolving, depending on the project, which helps maintain a yin-yang balance.

Can you walk me through how you prep for a job — from research and sourcing to fittings and final looks?

AC: This is consistent across all types of projects. We comb through decks, scripts, and other materials to uncover the story and clues about what the director, photographer, artist, or client is thinking. Then we take a minute to review it and come back with our interpretation via mood boards. We go through rounds of feedback until it reaches a point where we are all satisfied. It’s key to remember that styling is collaborative. Our job is not to craft a project solely from our perspective; our job is to lend our point of view and guide the wardrobe to suit the project authentically. Tenfold when working with an artist, these are actual people, representing themselves (not us) to the world. We have to stand behind the references we put forward and feel confident in our ability to execute them.

HG: Character development is a big one. Whenever the job allows us to dive deep enough, we geek out on building almost a “closet” for our characters. We’re all about authenticity, so we strive to source pieces that convey distinct personality traits or help talent get a genuine feel for their character.

How do you define your style as stylists/costume designers?

AH: Tough question as it constantly evolves!! We try to stick to a timeless aesthetic with a twist. Something unexpected via a piece of clothing/prop used as clothing or colour and texture.

How do you balance playing with trends versus longevity?

AH: We used to really fall victim to trends at the beginning of our career, and it was painful to see later, but now it’s funny, like a bad tattoo. It’s a timestamp of an era and a reflection of what we were into at that time. It all comes back around, so I guess we do what we feel in the moment with a little bit more information on how we, as people, will feel about our work down the line.

Has the industry changed the way you approach sustainability, sourcing, or fashion waste?

AH: BIG TIME! Most budgets mainly afford fast fashion purchases. We’ve created a fairly large kit, allowing us to care for and reuse these pieces repeatedly, which in turn gives us more flexibility in our budget and enables us to be more selective about where we spend our dollars. In Los Angeles (and other major production cities), we also have access to costume houses that offer a range of vintage and contemporary clothing. Utilising them is a great way of keeping our footprint down. We’re not perfect, and budgets can be restrictive, but we do our best. That said, it is essential to remember that the bulk of the responsibility lies with the practices of corporations and policymakers to ensure a more substantial and lasting change in the significant waste and impact the fashion industry has on our planet.

Where do you find inspiration outside of fashion?

AC: Obviously art, film, music, etc, but mainly a life well lived. Being a duo allows us to travel without losing work. Seeing the world and how different cultures or regions approach dressing is insanely expansive.

HG: TV/film always. Music videos - I’m nostalgic for the TRL era. And friends! <3

What have you noticed about the changing relationship between style within culture? In particular, social media has had a profound effect on people being more interested in this, right?

AH: On one hand, it’s great because we now have this amazing access to emerging designers, an outlet to promote our own work and this platform for individuals to express themselves through their outfits and have the ability to broadcast it to the world. But on the other end, along with all that, is our increasingly shorter attention span. One week it’s cottage core, the next it’s gorp core. Most people’s ability to keep up depends on the incessant consumption of more fast fashion. The pressure on creators to produce more is making everyone a commodity. In the end, when you get too much, you retain too little.

How do you think about styling into the broader ecosystem of creating a story on set?

HG: Styling is essential. We all get dressed every day, some people put more emphasis on personal style, but it’s at the end of the day still a choice we make daily. Clothing can speak volumes about one’s personality and serves as a strong visual cue within the story we are telling on set.

AC: In terms of collaborating with other departments, we’ve had the good fortune of working with directors/photographers/creatives who have a distinct vision. Good stewardship of the crew allows us to work harmoniously together even when we can’t be in communication. That said, we usually have an open dialogue with the production designer, cinematographer, actors, and others to achieve the most desired outcome.

Favourite ever styling detail that no one probably noticed but you loved?

AH: Often, when we build our tour wardrobe, we usually put lucky drawings or numbers on the inside sleeve that apply personally to the performers. Only we/they know what these are.

Anna and Hannah’s five good things:

A great film that inspires you?

AC: Anything Luca Guadagnino

HG: Rocky Horror Picture Show

An album or podcast you often play in the studio?

AH: podcasts! Smartless, Long-winded, The Cutting Room Floor.

A book you return to?

AC: I’ve just finished “A Little Life” for the first time, but I know I will be revisiting it many times in my life. Sometimes you just need a good cry and some perspective.

An artist who inspires you?

HG: Literally all of them. From the chaos of a Cy Twombly painting to the character work in an Alex Prager photograph.

What’s one small ritual you have before stepping on set?

AC: Lately, a silent drive to set.

HG: A big cup of coffee

https://www.annieandhannah.com

https://www.instagram.com/annieandhannah/

Here, Katie talks to Good Things about the ways her Welsh heritage informs her work, how prop sourcing trains the eye and why timeless design is more important than following trends.

Where did you first get interested in interiors? Did you have any early influences?

It all started with watching my Mum. She never worked in the creative industry but always had this natural affinity for creating magical spaces. Growing up, she was always dragging in big branches from the forest, hanging twinkly lights on them at Christmas and painting eggs for Easter. She would host dinner parties for friends and family and create these beautiful tablescapes (long before tablescaping was a thing). We used to play a game where we'd scroll through interior magazines together, mentally picking one item to keep from each room and then guessing what the other person had chosen. This is where the obsession began!

Your Welsh heritage plays a role in your aesthetic. How do you think the place has informed your work?

Some of my earliest memories growing up are of taking part in our school Eisteddfod, which translates to 'gathering' or 'sitting together.' This huge annual festival is centred around community and the celebration of Welsh music, poetry, language, and the arts. For such a tiny country, Wales packs a big punch when it comes to folk art and craft traditions, and I can see how this thread has been woven through my professional work and personal style. I've always aspired to be known as a collector of sorts, living in a house full of objects and artwork that celebrates craftsmanship and storytelling. As my style has developed over the years, I've found myself naturally drawn to studio pottery, weaving, hand carvings, + sculpture, all traditional crafts that are celebrated in Wales and passed down through generations.

We would love to hear about your research process. Where do ideas begin for you?

I love getting out and about for inspiration. Heading out to prop houses, furniture dealers, auctions, and markets is always my starting point. I have books that I go back to time and time again for inspiration. I'm a very analogue person and enjoy returning to specific reference points that stand the test of time.

The art of prop sourcing is the secret weapon in interior design. Could you talk about your approach to this?

This is the absolute best part of my job. Prop sourcing inspires everything that I do, and I'm always doing it. What I love most about prop sourcing is how it trains your eye to see things from a different perspective. When I first started in the industry, I assisted as many stylists as possible, and a lot of that work required me to be out on the ground finding and sourcing pieces for various projects on their behalf. This experience was invaluable in developing my understanding of how to interpret and respond to a brief. You learn to look at things through a completely different set of eyes, and you become excited to find pieces that you would (personally) never be drawn to. Sharpening your eye in this way is also an integral part of being able to work on multiple briefs at any one time.

How do you define your style as an Interior Stylist?

My friends joke that my style is 'Brown' (and they're not wrong.) Overall, my style is warm and eclectic. I like to mix eras and genres, and I don't stick to any particular design rules or trends. I'm drawn to rich, dark colours and natural materials and have come to realise that I am a maximalist at heart. It's essential for me that a room or a space doesn't feel too perfect or precious - I'm always striving for my work to look relaxed and lived in, well-worn around the edges.

How do you balance playing with trends vs longevity?

I generally don't pay too much attention to trends. Although social media has undoubtedly accelerated the influence of interior trends, they don't burn out as quickly as they do in other industries like fashion. Of course, it's my job to stay on top of trend forecasts, but more importantly, my goal is to create projects and imagery that feel timeless and can be returned to again and again.

What have you noticed about the changing relationship between interiors and its role in broader culture?

The pandemic was a real turning point in how people view and value their homes. For a long time, aspirational living on social media platforms was centred around travel. Suddenly, we were all spending a lot more time at home, and there was this very visceral shift in the way that people responded to their immediate surroundings. All of a sudden, people's homes moved from being private spaces to public platforms of self-expression, identity and personal brand. This culture shift has created an interesting duality whereby people have more access than ever to design inspiration, whilst simultaneously seeing less variety in styles due to algorithm-driven trends.

How do you think about set design within the broader ecosystem of creating a story on set?

Ultimately, good set design should work in complete harmony with all of the other elements that bring a story to life. Often, I design builds that need to blend seamlessly into existing spaces, and this can require a sympathetic hand. Here, the goal isn't for the set to shout the loudest, but to help shape the world in which the story exists. Every choice, from materials, colour palette to layout and scale, influences the narrative and tone.

Katie’s Five Good Things:

A great film that inspires you? The Addams Family (1991)- I was obsessed with this as a child; I've watched it hundreds of times. The set design still speaks to my soul years later.

An album or podcast you often play in the studio - ‘Miss Me?’ With Lily Allen and Miquita Oliver

A book you return to - Francois Halard: A Visual Diary

An artist who inspires you? Henry Moore, Barbara Hepworth, Louis Barragan, Jim Ede + his wife Helen Schlapp (of Kettles Yard)

Your favourite shoot snack? 3 pm chocolate is a must.

https://www.stylistkatiephillips.com

https://www.instagram.com/katiestylist

Here, Gregg talks to Good Things about his creative journey, how make-up is changing and why bringing good energy on set can change the trajectory of a campaign.

When did beauty begin for you?

It's interesting, because make-up was my second career. My first career was dance, and it was dance that opened up the portal to make up. I was a kid of the 70s, and it was an amazing time to be alive. The whole "Black is Beautiful" movement was happening. It was the height of amazing women like Iman and Jerry Hall. I would devour my mother’s issues of Glamour and Cosmo. I remember being a young gay kid in Ohio, watching the Carol Burnett show, and realising I wanted to be a dancer despite coming from a family of jocks. When I retired from dance, I was walking through the mall, and the same voice that told me I wanted to be a dancer as a young boy told me I wanted to do make-up. I listened, and here we are.

What did your dance career look like?

I'm classically trained; I did everything from operas, music videos and world-renowned productions. It was a wild time. Some years, I was on the road for 247 days. By the time I retired, I had performed on nearly every New York City stage except Broadway. Then make-up came into my life and blew dance out of the water.

So how did you find your footing in make-up? Did you assist?

It's a kind of magical story. I was living in New York at the time, but I came back to Ohio and was walking in the mall. I heard that voice inside telling me to pursue make up and went to get an application to be a cosmetic counter person at the mall. At the time, I knew how to do my make-up for shows, but had never done anyone else's. I had the interview, got offered the job, and then ran to the library to take out every book they had on make-up. I took them back to my mom's house and began practising. After a period working in the mall, I switched to working for Bobby Brown. I worked through all their educational programs from the national to the international level, and then for a brief time, I was Bobby's assistant. I was travelling the world, doing fashion shows with her. I reached the pinnacle.

From there, I realised I wasn't as passionate about selling make-up, as I was just doing make-up, and that's how I transitioned to working in advertising and editorial. At that time, I met photographer Sam Robinson and he introduced me to his agent. I met with her, and she signed me, and she's been my rep ever since. Make-up transformed into this wonderful thing beyond my wildest dreams.

Where do ideas begin for you when you are prepping for shoots?

The work I do is focused on simple, everyday beauty. I approach make-up through the psychology of it. "Natural" make-up is subjective. Kim Kardashian thinks her make-up is natural. So my focus has always been about staying authentic to the situation or character.

I’ve always believed that the glam team holds so much power when it comes to setting talent up for success on a shoot.

I agree. I'm a people person and it's my priority to psyche up models. By the time they go to set, they are ready for anything. They are set up. It's about bringing great energy to the room. I think it's honestly a big reason for my success - I bring a good vibe, and that's just as important as the make-up.

Make-up has undergone significant changes with the advent of social media. How do you see it evolving?

Everyone wears make-up now. Kids coming up play with it and use it as a tool to explore themselves, which is beautiful. It's less defined by gender now. It's one of those places where you can be free.

What’s been your most memorable shoot?

I worked on a Time Cover shoot of Edie Winsor, the LGBT rights activist who was pivotal in the 2013 decision to recognise same-sex marriage. That was one of my favourite shoots. I also worked with Cecile Richards, an amazing powerhouse, who was the president of Planned Parenthood. I also worked with Sylvia Earle, the marine biologist. I'm so fascinated by people who do things that are bigger than themselves. They might not be household names, but their power and influence have significantly advanced humanity.

Gregg’s Five Good Things

A great film that inspires you: Emilia Pérez and Into The Void

An album or podcast you often play: Anything by Amber Mark, Liv East and Scout.

A book you return to: The Alchemist by Paulo Coelho

An artist that inspires you: Keith Haring

Favourite shoot snack: Popcorn

https://www.ba-reps.com/beauty/gregg-hubbard

https://www.instagram.com/greggmakeupnyc

Here, Niamh talks to Good Things about her love of 90’s beauty, her approach to trends and why collaboration is fundamental to everything she does.

Where did your relationship with make-up begin? Did you have any early influences?

I grew up in Ireland; we had no TV at home until my teens, so the fashion magazines I would smuggle home behind my parents' backs were everything. Make-up was my sole access to feeling less Irish, getting me one step closer to 'real life' where I could be transformed into a tanned and glamorous girl! Now, I am, of course, very proud to be Irish, but back then, it felt stifling. Make-up was an extension of art for me, a way to explore.

Tell us about your research process. Where do ideas begin for you?

My approach is rooted in collaboration. The photographer often brings me into their initial thoughts on a project, and we play from there. I love the potential of what can grow when teams work well together. I also love being introduced to images and ideas I may not have encountered. From there, I can go into my research archive and start thinking about colour, texture, shape, mood, etc. A few long-standing inspirations for me are the work of Irving Penn, Milton Avery, Stephane Marais, the Sea andnearly all women!

How do you define your style?

My work is most often natural. I'm focused on relating to people and intuitively creating a look that brings out the best of their true selves while considering the shooting environment they need to be brought into.

How do you balance playing with trends and longevity?

Trends are fun, and I enjoy playing with them, but they rarely feature in my work. I'm interested in finding ways to play with trends which don't feel disposable.

Are there any historical eras of make-up that inspire/inform your work?

If my mood boards are anything to go by, it has always been and continues to be the 90s.

It was such an inspiring era for beauty.

What project are you most proud of and why?

One of the projects I'm most proud of never actually got released! Something that happens from time to time in the industry can be frustrating. The shoot involved body painting two models to camouflage them with the products. There was no time to prepare; it was on the spot mixing and matching colours, but the results were incredible. Even though it was never released, it’s still the most satisfying work I have ever done.

Which job has pushed you the most so far and why?

Jobs always push you in various ways, but the most challenging situation can be a talent reluctant to play ball or if the creative vision begins to clash with the production brief. Compromise is always vital when you're working as a team.

What are you most hopeful for/ excited about this year regarding your work?

I'm desperate to work in Senegal, so I hope that happens. I would do anything to go to Dakar!

Niamh's Five Good Things

A great film that inspires you?

'Let the Right One In' by Thomas Alfredson. It's perfect.

An album or podcast you often play in the studio.

If I need to focus, then it's Flora by Hiroshi Yoshimura.

If I'm cleaning/organising kit, then a podcast I've been gripped by recently is The Telepathy Tapes.

A book you return to

Female Chic: Thema Selection: The Story of a Zurich Fashion Label by Gina Bucher and a book on the Art of Paper Flowers

An artist that inspires you?

Tracey Emin, Gian Lorenzo Bernini

What is your favourite shoot snack?

Seaweed!

https://www.lgamanagement.com/makeup/niamh-quinn/

https://www.instagram.com/niamhquin

Here, Rasa talks to Good Things about presence, the mystery of storytelling and pushing ideas to their edge.

Where did your relationship to film begin?

I grew up in a family that didn't have a TV and didn't go out to movie theatres, so my exposure to films was scattered. One of my first memories was watching Indiana Jones and the Last Crusade at age five at a friend's house and having my mind blown with how much excitement was packed in. The pleasure of movies and TV being hard to access created a longing for me that never went away. All the kids I knew would constantly reference films and TV, and I was awed at the medium's power to influence society while being so enjoyable.

How did living in India during your early teens inform your creative perspective?

Being spiritualists and wanderers, my parents decided to move to India in the mid-90s. So I grew up there from age 9 to almost 17, living first in Northern India near Delhi and then moving east to West Bengal, about four hours from Kolkata. In India, Bollywood is all-pervasive, and the entire country rises and falls with the films from the industry there. Shops would play the latest movie songs at full blast, and everyone would sing and dance to film songs at all parties. As a teenager, I would head into Kolkata to watch whatever Western movies were playing in old, triple-balcony British Raj-era theatres. Titanic came out, and it took six months to get a seat in the single theatre showing it in English as it was completely sold out.

Movies arrive in India about six to nine months after they are released in the USA. I remember counting down the months until I finally saw The Matrix for the first time. The mixture of philosophy, action, cinematography, and storytelling really moved me, and it was probably then that I started feeling that the best job in the world would be to make movies.

India is a place of massive contrasts and contradictions. There is poverty and wealth, solitude and insane crowds, and life itself is more intense and vivid there. Living through that, my artistic nature leans towards having things be towards the very edge of what can work and not work. I like pushing ideas and storytelling as far as possible but at the same time staying very rooted to the 'truth' of what that story, frame, or moment calls for. I think that intention comes from my time in India.

Where do ideas begin for you? How do you approach a project?

I usually start by reading the script or deck several times, then I begin researching the subject matter and trying to read/listen/watch as much as possible in the area. During this, I'm allowing images and ideas to form in my mind's eye and my heart as to what feels right. Filmmaking is such a collaboration, so at regular intervals, these ideas are shared and discussed with the other creatives, and through those conversations, we get closer and closer to the final plan. There are so many unknowns and changes during the filming process that I find it critical not to be too attached to the exact plan and sort of surf the coming waves. The more present and able to look at what's happening at the moment, the more chance of capturing something well beyond the plan's scope and one of those magical moments.

How do you think about storytelling through your work?

To me, storytelling is a mysterious, magical and ever-puzzling thing. Even after years of studying it, it's incredibly hard to pinpoint how to do it well and why some stories are so amazing. In my work, I'm always trying to create images that convey the characters' emotional journey but also keeping in mind that there is a human at the receiving end of the image, and the sequence of images should also create an emotional journey for the viewer. Understanding that I'm creating within that liminal space between the real-life experience on the physical film set and the acceptance of the fantasy within their mind is a lot of responsibility yet exhilarating. The best stories and films are ones where you can be completely engrossed in the world and feel the love the storyteller conveys. As storytellers, denying that the audience won't feel your presence can be a mistake, so I strive to make the presence reliable and interesting.

Which project are you most proud of?

Ohhh, this is like choosing your favourite child; there won't be a right answer, and those I don't mention will be upset. Recently, I shot a film called Kemba, which tells the real-life story of Kemba Smith, who faced the judicial system and had her wrongful sentence commuted by Bill Clinton. The film brought to light the plight of another inmate she interacted with while imprisoned in the 1990s who was still incarcerated under the same racist sentencing rules. Upon the film's release, it was shown at the White House, and right before President Biden left office, he granted clemency to Michelle West, who was sentenced to life in prison. So, to have worked on a film that made a real-life impact on someone's life is a fantastic feeling.

Which job has pushed you the most so far?

I worked on a film called The Immaculate Room during what I call high COVID, that period before the vaccines came out. The first line in the script is 'They enter a giant white room', which is the bane of every cinematographer. It's hard to get contrast and depth in a brightly coloured room, and this story takes place entirely in this massive room. I taught myself how to use a 3D model to look at room shapes and how lighting could be incorporated into the set design. Inside the 3D model, I previsualized many angles that ended up in the final film. We faced serious budget concerns, so much time and energy was spent figuring out how to pull off the lighting, which changes several times during the film, and how to pull it off with the tiny crew we had. I'm quite proud of the results; you can see them on screen.

When it comes to your work, what are you invested in right now?

I'm focusing on enjoying the work and presence of mind. If I'm just hanging on to get 'through' the job vs actually appreciating the situation and opportunity, I don't believe I'm bringing total awareness and opening myself up to the universal flow that creates beautiful and meaningful work.

Rasa’s Five Good Things

A great film that inspires you: Nickel Boys was really amazing in its adaptation of the book and use of cinematography to create a unique emotional impact.

An album or podcast you often play: Any episode of the Team Deakins podcast is a masterclass in filmmaking with the very best in the industry.

A book you return to: Most books by Haruki Murakami

An artist that inspires you: Photographer Fan Ho

A film that informs your work: The Safdie Brothers' films are really inspiring and nail-biting. Uncut Gems is a highlight. I love that grit that feels like the millennials' version of Guy Ritchie.

https://rasapartin.com

https://www.instagram.com/rasa.partin

Anthony, tell us about the genesis of 'Work Hard and Be Nice to People'.

I was standing in the queue at Sainsbury's on Clapham High Street in the summer of 2002. In front of me was an elderly lady talking to the woman working on the check-out about various subjects: the cost of a tin of cat food, the weather that day and the secret to a happy life. The old lady's advice was to work hard and be nice to people. I remembered the phrase and packed it away in my head, thinking I might do something with it one day.

My family and I moved to Rye in East Sussex a few years later. It’s a beautiful town with a rich history of creativity and tradition. At the heart of the city lies Adam of Rye. An old-fashioned shop that sells magazines, greeting cards and paraphernalia for the nearby beach. When we moved to Rye, I noticed beautifully printed posters and announcements around the town advertising flower festivals, tea dances and bric-a-brac sales. The posters were printed using letterpress, an outdated process that has long been superseded by digital printing. At the foot of these posters, it read 'Printed by Adams of Rye'.

I went into the shop to find out where the letterpress workshop might be, and I was directed to the rear of the shop where there is a door marked 'PRINT WORKS. DO NOT ENTER'. I ignored the sign, opened the door, and entered an incredible time capsule of a print workshop that hadn't been changed since the 1950s. It was a moment that would alter the path of my career completely. I asked if they could print a poster for me that said 'WORK HARD & BE NICE TO PEOPLE'; it felt like the perfect phrase to be set in vintage wood letter type and be printed on a press over half a century old.

The first run of three hundred copies was printed with a simple layout setting out the phrase in a timeless way. I began distributing copies to friends and then to people I worked with. Requests for copies soon started, and we printed more to meet the demand. It began to be sold in galleries and on my website. It got mentions in the press and was featured in design publications. That was in 2004, over twenty years ago. We've printed thousands of copies, first in letterpress and later in silkscreen, and there have been several special editions in different sizes. It's my most recognised work and the piece that people associate most with me as an artist.

What’s it been like watching the journey of the print take on a life of its own?

It's fascinating how it's spread and travelled outside the world of graphic design. It's crossed over, and in a way, I've lost control of it. It has its own life now and has become part of other people's stories. That's the ultimate aim of any piece of work. It should become owned by people who connect with it.

Take us back to that time in Sainsburys, what was your creative life like then?

I was really deep into advertising, but I still felt like it wasn’t where I was meant to be, you know? I did graphics at the Royal College, and all my contemporaries either set up their studios or worked independently. Everyone was doing their own thing. 

Around that time, I was looking for the next thing. I was really into printing ephemera, and I'd always make these little printed things to promote to clients. When I heard that phase, something clicked. It was Emma, my wife, who suggested I start selling them. 

Were you surprised when the print took off? How did it change things for you?

It's kept us going. It created my aesthetic and helped me build an audience for my work. Collaborations and projects are now born from it. It has become its own world. 

So talk to me about writing. Short, sharp statements that resonate are so hard to conjure. I heard you talk about your Mum on a podcast and how she was this quick-witted, no-nonsense communicator. Did she influence your approach in any way?

Being brought up in a kind of working-class Northern environment, there's a lot of humour, particularly self-deprecating humour. But then profound things were said with a bit of a wink and a bit of a smile in that homespun philosophy. That stuff surrounded me, and it was just part of the conversation. I really felt my northernness when I went to the Royal College. It made me realise that I was from a different cultural background than everybody else. While there, I leaned into my identity and tried to undermine the pomposity of things. In the back of my head, I thought about David Hockney going from Bedford to the Royal College and what that contrast must have been like for him. 

I've always been interested in the power of saying a few words to communicate your thoughts or how you see the world. I read a lot. I also learned a lot working in advertising in terms of writing sentiments as simply and concisely as possible, but as you say, it is tough to get these ideas down in an un-self-conscious way. 

I find it harder now, both because I've got this back catalogue and also how this world is now. I wonder if I would have had the self-belief to get behind a message like work hard now—I think it would be a different sentiment.

Do you think it still holds up? 

I think so. Twenty-one years later, working hard means creatively evolving. And then, being nice is just how I've always tried to live. Just be a regular, non-nonsense person and be true to yourself in every aspect of your life. 

Over the years, have you had to protect the work in any way? 

I've been quite protective of it over the years. I've had many different offers to do various things with it, especially with this specific print, but I've always wanted to keep it as a poster in its original form. 

I'm not sure how many people are aware just how relational your practice is. The work is so rooted in connection for you. Can you talk about that?

Creating connections and community is the lead role for my work now, and the work is the conduit that enables those connections to happen. 

I wanted to ask you about optimism because the graphic design world and the world-at-large are very cynical. What does it take to champion that optimism in a highly cynical world? 

I think it's attractive to be drawn to optimism. My career has been driven by optimism. It's also about having a good support network behind you, people who love you and want you to succeed, not necessarily for the financial goals but for the things you care about in a bigger sense. 

Do you consider yourself a workaholic, or are you someone with good boundaries around work? 

I just love working. You know, it's like 24-7. It's good to have that time to reflect on things, but then I just want to get cracking again. I just love making stuff and putting stuff out there. If I'm honest, there's no differentiation between work and life. All the interactions I have with people, things, and culture inform the work.  

Do you think success has changed your work? 

Success can guide you. You can see what works with people, which gives the work more confidence. 

You can see more of Anthony’s work here and get your hands on one of his prints here.

Here, Penny talks to Good Things about research, the importance of craft, and how living in different countries has informed her work.

Where did your personal relationship to space begin? 

My relationship with space and surroundings started at a young age. We moved around a lot; my earliest memories were from the snowy mountains near Montpellier, where we lived when I was 2. At five, we moved to Mauritius and I have vivid memories of the tropical plants, wildlife and crystal clear waters there, along with all the natural treasures you can find in the ocean. As a tween, we moved to Kenya, where we spent a lot of time during the holidays on safari, exploring the savanna's gently rolling landscapes and lakes covered in a flamboyance of pink flamingos. All of these early experiences have profoundly influenced my work. 

Where do ideas begin for you?

It might sound cliché, but the ideas for many of my personal projects usually spark from an emotion. It's a desire to capture a specific feeling, often a mix of beauty with a sense of anguish or discomfort. Life tends to be full of these contrasts, often running parallel to each other.

I draw a lot of inspiration from artists like Dorthea Tanning, Edward Hopper, and Rachel Whiteread. All of them directly reference architecture in some form with an element of surrealism. I spend a lot of time digging through old books to find references that perhaps don't exist on the internet, such as old interior books, vintage botanical illustrations, or a puppet-making guide from the 1960s. I also watch obscure films, collecting screenshots of unique sets that could serve as inspiration for future projects.

How do you think about storytelling through your work?

Storytelling is such a beautiful part of the job. I like to try to create a world that transports the viewer and sparks curiosity. In editorial work, the setting and characters often remain ambiguous, allowing the viewer to create their own narrative, which I love. 

How do you define your visual language? 

Retaining a strong individual style is critical. Over the years, I have worked to develop a cohesive visual language defined by the materials and colour palettes that I use.

One aspect that defines your work is a vivid approach to materiality, right?

Textures in set design are crucial. They add depth, and I believe having this tactile quality engages the viewer in a more meaningful way. I aim for props or sculptural elements to feel almost edible—a true feast for the eyes. I also use water in a lot of my designs. I like its fragility against the solidity of a set build and the reflections that it creates. I also love to work with flowers and natural elements, which often provide an essential contrast to man-made textures.  

Your process is very hands-on, from designing an idea on paper to building spaces yourself. Can you talk about this process and why it's so meaningful for you?

As a set designer, you must be a versatile artist with many skills. It's essential to be able to create the world that you envision. Designing and creating sets in-house allows me to stay deeply involved in projects and maintain that strong visual language. The hands-on approach to making is what got me excited about set design when I was starting out, and without it, I would lose a lot of what I enjoy about being a set designer. 

Which job has pushed you the most so far? 

I recently did a job where we had to make a car look as though it was floating in the air with a cloud of pink smoke underneath it. From sourcing the exact model of the car to jacking it up and creating the perfect smoke cloud, this was the most technically challenging job so far!

Another recent shoot for Harper's Bazaar Women of the Year Awards involved celebrities coming on to set in a conveyor belt situation. We had to change up the set every five minutes! The results were brilliant, but I'm not used to working like this, and I really had to let go of a bit of control and just trust the process.

How do you think about set design within the wider ecosystem of creating a story on set? 

In general, I work closely with the art director and/or photographer to bring the story to life. I love to be involved in all of the creative discussions, particularly the casting, as this is such an important part of the story. I'm also really interested in choreography and how the model or talent interacts with and moves within their surroundings.

What are you most excited about this year regarding your work?

I'm excited to work on some more personal and editorial projects with photographers and creatives I haven't worked with yet. I would love to create an installation for an exhibition so people can experience my work in person. 

Penny's Five Good Things

A great film that inspires you: Suspiria 1977

An album or podcast you often play in the studio: Team Deakins Podcast

A book you often return to: City of Salt by Kahn and Selesnick 

An artist that inspires you: Dorothea Tanning 

Your favourite shoot snack: Seaweed snacks!

https://www.pennymills.co.uk

https://www.instagram.com/pennymillsstudio/