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Top 20 Tips For Being A Successful Interior Designer Bbc News

Top 20 Tips For Being A Successful Interior Designer Bbc News Top 20 Tips For Being A Successful Interior Designer Bbc News

We made the film and finished the film professionally, but it was quite a hard break and that hurt, because I think both of us had quite a lot of respect for each other.

I was always very inquisitive growing up, but I couldn’t just find my vocation and unlike some parents who push their kids, which I won’t ever do with mine, they gave me the space to continue the search.

When I left school, I became an apprentice milliner – I really wanted to make hats at the time. Looking back, it was a great thing to do because it is so important to learn a skill, to work with a team and to understand seasonality.

Regardless of what I’m doing I need to feel like I’ve done a day’s work, you know, like I’ve put in the hours, otherwise I can’t celebrate any of the successes. I need to feel like I’ve done my bit.

If you wait those five years, they will make your steps so much longer, so that when you do get there you’ll be able to take bigger steps than you would have done if you arrived earlier. My career went in leaps and bounds and I do sometimes think that is because it took me a while to get there, so don’t give up!

It’s been one the steepest learning curves I’ve had as a songwriter and the same applies for Gaz. But it is by far the most inspiring and creative thing I’ve done in my life. It’s good to have ambitions and keep challenging yourself.

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We’ve been good mates ever since and I’ve just been working on my first Broadway musical called Finding Neverland with Gary. It’s just fantabulous and it’s looking like we might have a hit on our hands which is great!

Getting some sort of grounding in architectural interior design is a very good thing to do. You need to learn to do things like scale drawings and maths is very important too. It’s not all choosing lovely curtains and fabrics!

Your lyrics have to tell a story, they have so much of a job to do.

We used to drive down to France every summer when we were kids and my Mum would stop off in Limoges, which is famous for porcelain. She would always insist on buying seconds from the factory shop. They were all wobbly and bent because they had been misfired, but to me they were beautiful and filled with character.

I just happen to be lucky enough to be holding a pencil the day the universe wants to write a song, because I feel like I’m a part of something much bigger than myself and I’m truly grateful to be doing what I do. I can’t wait to get in the studio each morning, I love it.

When you have designed a space or an object or anything really and the client loves it, that is why I do what I do. That is the best feeling and the best thing about the job. If you create something and you put it out there and you know that somebody else is genuinely thrilled with it, then that is your reward and there is no better feeling!

The songs people resonate most with, are songs that are just full of honesty, sound simple and get the message across.

He won a Bafta for the same film and his other credits include Rush, 28 Days Later, 127 Hours and The Last King of Scotland.

Things don’t have to be perfect to be beautiful. If you go into a room and it’s all perfect, you don’t feel comfortable. A home interior is not an abstract thing, it is about people, it’s about the way you feel, the way you interact. It’s about family and friends, it’s the backdrop to your life.

I’m grateful for everyday that I’m allowed and able to get up and go to work and I try to teach that to students of my own.

Image copyright Publicity Image caption Eliot Kennedy worked closely with Simon Cowell when he was the X Factor’s creative director for a couple of years

A good director will remember to applaud their colleagues and remember that they could do very little without them, but they’re not all like that.

The reality is that if you want a career in music, it is all consuming and it isn’t something you do, it’s something you are.

The drive and the passion you invest in a film doesn’t always pay back. There was a film recently that secretly, deep down, I really thought deserved some kind of public recognition and it didn’t happen and that’s how it goes.

Once the machine starts to get going, the identity and ego that you give up as a cinematographer disappears in the equation of film-making. You have to give up your ego.

The final personality of a film has a great deal to do with the cinematographer, but it has more to do with the alliance, trust and understanding between you, the director and the producers.

We moved home when I was about eight years old. My parents bought a dilapidated old school and then spent the next few years doing it up. We basically lived on a building site, and I got to see the whole thing stripped back to the bare bones. I found it really exciting and I think that experience probably sparked my initial interest in interior design.

He had a number one hit on his 25th birthday, won an Ivor Novello award for Picture Of You by Boyzone, and is currently working with Gary Barlow and Harvey Weinstein on the Broadway musical, Finding Neverland, due to open next year.

I always loved designing things. With anything in life that you want to do, if it interests you and you spend enough time doing it, you will learn it. You just have to care enough about it to try.

I’m very lucky to work in a field that I really enjoy, but I wouldn’t take on a job that I felt was going to be unpleasant or difficult. I think it’s important to work with people that you get on with and that you can see eye to eye with.

My top piece of advice would be to get a much better haircut than I have and you are what you eat, so take care of yourself. I think education, honesty, trust and determination are all essential.

Sophie Conran, the award-winning English interior designer, is the daughter of designer and restaurateur Sir Terence Conran and the sister of fashion designer Jasper Conran.

Where you move both yourself and things move in the frame and the light changes, that’s the big, difficult jump. Controlling the light, for the fraction of a second that the picture demands it is so important.

I had always had an ambition to have a number one by the time I was 25, that was my life time ambition and believe it or not, Everything Changes went to number one on my 25th birthday.

It is so hard and it’s getting harder all the time. Once you get involved in a film artistically, make that film grow, help the idea and story to grow, you’ve got to believe that there is a significance to it being you that got the job and that you have something to give that film.

I don’t think I’m any good at what I do if the material doesn’t touch me on some level, challenge and engage me.

A cinematographer is a person who stands behind a camera and is patient and loyal and understanding of actors, directors and producers.

A long time ago, when I first had my flat in London, I painted my sitting room yellow and blue. I thought it would be a good idea, but it wasn’t and it was hideous! I was 20 years old, I was brave and I thought this could work, this could be fabulous.

That was a big part of what inspired me to create the Portmeirion collection. If things are too perfect then it is without character, it’s not good to be too precious about something. The more you strive for perfection, the more it disappears. Don’t aim for perfection, try to create a relaxed environment, that’s what I think is important.

I think it comes from being a Northerner, my dad was Irish and extremely hard working and he instilled a solid work ethic in me.

10. Don’t give up, find the door, then find a way to make it open

Anthony Dod Mantle is an award-winning British cinematographer. In 2009 he won an Oscar for best achievement in cinematography for Slumdog Millionaire.

I’ve always considered the songwriter and producer’s role to be one of integrity rather than one in the limelight. Because I think the job of a songwriter and a record producer is to bring out the artist in the person performing the song.

8.Look for inspiration in everything and get to know your clients

Image copyright AFP Image caption She says it is good to make mistakes you can learn from 5. Don’t blow the budget

It’s very unhealthy mentally to go into this vocation without being aware of the potential frustration of not being credited or noticed or applauded

I get my inspiration from all over the place; books, magazines, the internet, shops and my relatives of course! It is like being in a family of doctors sometimes, we spend a lot of time together and are inspired by similar things so we do talk about our work with each other.

I’m a master of absolutely nothing, but what I do have is a working understanding of different instruments and that’s important because it means you can get a better performance from the instrument and the person playing it.

I’ve become known for movement. Why and how you move the camera is an essential part of our job. It took me the first two years of my four years at film school to understand how to give up that control of the static image and maintain some other kind of variation of the word control of a moving image.

I had a drive and a determination inside me and I could not find the outlet for it. The ability, talent and drive can be there, but first you have to find the door, then find a way to make it open, then take the right steps to go through it.

Before I even think about what I might do with a story, I have to revisit the script and let myself react to it simply and emotionally for what it is and decide if it motivates me.

I failed at school and not going to university meant that I wasn’t particularly confident when I started out and I didn’t feel great about myself then. I was quite badly dyslexic and everything was a bit of a struggle, apart from the arts. Reading, writing and spelling were all a bit tricky.

You can’t teach that stuff, you just have to absorb it. If you’ve got the right sort of attitude, you can watch and learn and then practise yourself when there’s some studio down time.

If you don’t know what you’re doing, you’ll soon be out. So if you work against something, or you don’t understand or you just don’t liaise well with people then the machine won’t work properly – the film will suffer, the actors will suffer, the whole process will suffer, the whole art form will suffer too.

The songs people resonate most with, are songs that are just full of honesty, sound simple and get the message across

I get my inspiration from all over the place; books, magazines, the internet, shops and my relatives of course!

It doesn’t matter if at the age of 20 the door isn’t open. What’s important is believing that it will open and believing that even if it takes five years longer to find the door, keep believing, keep yourself active, and stay inquisitive about the world and the people that surround you.

Asking people to give an honest performance can be like asking someone to get undressed in front of you. If you’re asking people to drop their barriers like that, they’ve got to be comfortable with you.

Thinking about how a room is going to make you feel is essential. That is what good interior design does. It’s about creating an atmosphere. You absolutely have to know something about the people you are designing a space for. You need to find out about the way they lead their life, which rooms they use the most and you must always consider form and function.

It didn’t and it wasn’t, but some of the other things I tried did – and I think it’s important to be brave. When you’re spending someone else’s money steer clear of something you think might be a mistake, but do try and be brave. Otherwise we’d all live in a very grey world, wouldn’t we!

I’d sit there with a bag of crisps and a bottle of pop listening to my dad singing these songs and then have a go at writing my own.

She says it sometimes feels like design has become part of her DNA.

I left school after my O-levels, and then I did a year of retakes because I did so badly. It is so important to believe in yourself, and tell yourself that it is going to be ok.

I started out as a tea boy, which was perfect because you just get to observe. You sit at the back of the room, look after people, get them what they need but at the same time, you get to share in the experience without being responsible for it.

It’s that kind of approach that I think works, if you are as honest as you can be about who you are and what you want then that makes sense to me.

You’re kind of a key person on the set. You deal with everything to do with the visual language of the film or television series or moving picture.

3. Practise your maths, it’s not all choosing lovely curtains Image copyright other Image caption Conran is keen for budding designers to grapple with maths as part of the job

The functionality and the atmosphere are the most important things to get right. The fabrics, the floor coverings, the furniture the lighting are the tools that you use to create that. Don’t make rushed decisions if you can help it, apply a process of elimination approach if you can. The more you do it, the more confident you will become in your decision making.

You have to make sure that it works for you while you are away from home. You also have to make sure that the crew around you behave and you have to trust people and hope they trust you too.

Music transcends race and age and everything else, it’s a truly universal language.

Over the years I’ve learned that your most important job as a producer is creating an environment in which people want to create and express themselves and that isn’t always easy.

I’ve always understood that anything really amazing was usually born out of a lot of pain and a lot of sacrifice. Because that’s how you earn it, that’s how things become really great achievements.

It’s amplified in a recording studio environment, because people aren’t always willing to give you that level of honesty and go there straight away, so there’s a lot of psychology involved.

Try and be a good person, the best that you can be, then things will happen. Apply positivity to any situation you find yourself in, and don’t linger on things that are negative, but use them as opportunities to grow.

It can be on an atheistic level, a political level or a cultural level, there could be other dynamics, but that said if it doesn’t touch me in some kind of way, I’ll try and stay away from it.

The job of a songwriter and a record producer is to bring out the artist in the person performing the song

I think it is very competitive now. I would always encourage people to stay in education for as long as they can, really. I think it shows staying power, demonstrates a certain seriousness about things and allows you to get your thoughts in order. Even though I didn’t do it, I do think it’s a good thing.

When it comes to making decisions about colour, my advice is to do it slowly. Try colours on a small area of the walls you want to paint and look at them at different times of day. It’s about instinct and how it makes you feel again. Always try things before you make any final decisions.

He has most recently been filming Our Kind of Traitor, staring Ewan McGregor and Damian Lewis, due out next year. Here are his top 10 tips for being a cinematographer:

It’s very unhealthy mentally to go into this vocation without being aware of the potential frustration of not being credited or noticed or applauded. You have to sign an invisible agreement accepting you’ll be comparatively invisible, compared with say actors and directors.

You don’t need to spend a lot of money to make a room look and feel good. Time frames and budget constraints are probably the most difficult thing to manage about the job. People don’t want to spend too much money and if you go over budget, then people understandably get upset.

When artists behave badly, it is often just a defence mechanism, it’s just someone feeling insecure. It’s your job to get them to relax.

My top piece of advice would be to get a much better haircut than I have and you are what you eat, so take care of yourself

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My dad was a singer so he would go out and perform and I think I learned my craft as a result of sitting in dressing rooms of working men’s clubs in the North of England.

If you want to be a professional music producer, you have to sacrifice the BMX years as a kid. Those few years when, as a teenager, you would be out on your bike with your friends, as a musician, you can forget about those years, because as a musician you’re learning instruments or writing songs.

I’ve managed to maintain a sense of wonder of music and it levels me how powerful it is. We wield it about like a child with a light sabre sometimes and we don’t know what we’re doing.

Lighting is also essential because it’s all to do with mood. I like to have lots of different light sources, low level lighting as well as ceiling lights and I like to have quite a lot of control over them as well, with lots of different switches and dimmers.

Eliot Kennedy is a Grammy Award-winning British songwriter and music producer. Over the last 20 years he has worked with a wide variety of artists, including the Spice Girls, Aretha Franklin, Mary J Blige, Celine Dion and Take That.

Whether you are working in photography or film, it’s about contrast, luminance, density, exposure all of these things are things you should know about it.

You are away for long hours doing this job. I spend my life away and I wouldn’t be able to do this and I wouldn’t recommend this to anybody, unless they are really passionate about it.

I’ll make suggestions and put together a mood board using images from books and magazines. Try and get all your ideas in one place visually, from bits of fabric to tiles to floor finishes, put all the bits you might want to use together and see if they work together on paper, that is always a good place to start.

The more you write songs, the more you broaden your vocabulary and the poet inside you.

Everything that travels through your eye and into the camera, it’s up to you to bring together all the hard work of many, many people, to create a hopefully unanimous agreement of what makes a lovely vision. And that happens one in every 10 times.

Twenty years ago, I got a phone call asking me if I wanted to produce a record for Take That. Gary Barlow and I wrote Everything Changes together very early on.

It’s a never ending learning process and the learning curve and everyone on set knows that nothing is going to work without a well-functioning cinematography department, and that’s led by you, so you’re immersed.

I try to see everyone I meet as a good person. Sometimes when you trust people in any capacity you can get your heart broken, but I think it’s important not to be cynical. Try to only expect good things and when they do happen, celebrate them. It isn’t always easy, I had to learn to be that way.

I think we have a responsibility to keep educating ourselves nowadays. I play a lot of different instruments including the drums, piano and guitar.

You have to think about how you see it and how you publicise your thoughts, your imagination and your ideas on each scene and share that with the director and stand your ground. Never be combative, rely on a trade of dialogue and enthusiasm. You can only do that if you are in the right place and you have a genuine engagement with this vocation, you won’t survive if you don’t.

As a music producer, you don’t just want someone to stand there and sing, you want them to transfer emotion, which means they have to be extremely honest with themselves and you.

It’s too hard a job, physically and mentally if you’re not that involved. I am away from my loved ones, sometimes for nine months a year, I have a very understanding family.

Some people are initially uncomfortable with that, you have to break down all their barriers and so, as a result, bad behaviour comes out – we’ve all got our own little defence mechanisms when we’re feeling uncomfortable.

I can’t remember having any more than four hours sleep a night for the last 15 years. You have to throw yourself in and learn how to swim.

I would totally encourage people to go for internships. They give you an experience of the industry that you want to be in and allow you to find out if it is the right one for you. It means that you start from the bottom and you get access to amazing talent in the real world.

I had a dolls’ house as a child. I decorated it, furnished it and even put wallpaper up, so I sort of started interior design at quite a young age for some small, inanimate clients!

Image copyright PA Image caption Anthony Dod Mantle has won multiple awards for films including Slumdog Millionaire and the Last King of Scotland as well as for his TV work which includes the series Wallander

Image copyright Other Image caption Sophie Conran’s fascination with interiors began with her dolls’ house

Our enthusiasm can be slightly contagious I think, and it sometimes feels like design has sort of become part of our DNA, but everyone in the family has been incredibly supportive of me and encouraging and it’s lovely.

You’re going to get the odd idiot along the way who is ego driven and awful, but those people tend not to last very long. Those that have succeeded have worked out that their success is largely down to other people and not just their own individual talent.

For someone to succeed in the music industry there’s a long line of people that need to believe in that person. It’s a bit like being a politician; no one gets there on their own and it certainly doesn’t happen overnight.

You’ve got to be able to empathise with your client. Being an interior designer can mean lots of things, there’s a little bit of being a nanny in there, a little bit of psychology and lots of empathy.

I grew up in England and was fortunate to have very understanding, tolerant parents. Mum was a painter and my dad worked in agriculture. I did my A-levels and then started to travel and they never hurried or hassled me.

8. Decide what motivates you Image copyright Getty Images Image caption Anthony Dod Mantle says you have to have drive and determination to succeed

You have to avoid that sort of thing and that’s part of the training really.

Your ammunition and your arsenal broadens when you read a lot of different kinds of literature, so I recommend reading as much as possible.

It’s one of those industries where you just have to try and absorb as much as you possibly can. Find a way to be in a recording studio and watch what happens. Experience the psychology of dealing with artists and the practicalities of getting a performance from someone.

The truth is, a career in music isn’t just your career, it’s also your mistress, because you love it, you spend all your time wanting to do it, you’ll spend all your weekends and nights thinking about it, you sacrifice a lot of conventional relationship time and that isn’t always easy.

I spent a year in India at the age of 24 to find out what my vocation would be. I took thousands of photographs and I learned for the first time that one image can mean a thousand and one different things to people. I found that fascinating and it was the start of something.

Aaron Persky faced intense criticism after jailing a Stanford University rapist for just six months.

I once had a collision with a director who I had known for 25 years. It was a film called Antichrist and we ended with different opinions on things and instead of tearing each other apart, we just stepped away.

4. Use your lyrics to tell a story Image copyright Publicity Image caption Eliot Kennedy is working with Gary Barlow on the Broadway musical Finding Neverland

You have to remember that when your music goes out there and into the world, it doesn’t belong to you any more as a songwriter, it belongs to whoever hears it and it becomes part of the soundtrack to their lives.

It’s about social engineering, it’s not just about making everything look good and having enormous technical knowledge, it’s integrating all of that with your personality and integrating what you have to offer.

If you’re going to succeed in this business, you learn pretty quick that being appreciative of other people’s time, skills and talent is the key to being successful. Being a good, kind, human being is paramount.

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