Dovas Vyšniauskas is an artist and sculptor. In cinema, he makes decorations, sets, and props for films and TV series. He has worked on various projects, such as “Stranger Things”, “Clark”, “Young Wallander”, and many others. “In more than a decade on the cinema sets, the most remarkable change that I have noticed was the one that took place in me, rather than in the industry,” Vyšniauskas says. Today, the two things that matter to him the most are people who make films and smooth teamwork.
When asked what brought him to the cinema world, Vyšniauskas suggests that both his character traits and the fact that he was surrounded by art since childhood played their part. “My mother is a painter, so I spent a lot of time in the workshop from a young age. I would often look at a blank watercolor sheet, asking myself what it would be filled with. Later, I wanted to study scenography, but at the study fair, I was deeply impressed by the sculpture teachers and their liveliness – that’s how I ended up studying sculpture. Later, cinema entered my life naturally, as my roommate was a cameraman, and he often needed help with lighting and art.
As early as my childhood, I enjoyed hands-on experiences, such as constructing, drawing, assembling, and carving. This kind of work involves active creativity that awakens me and prevents my imagination from stagnating. Of course, like in every job, some days are tough, but let’s admit: we are privileged in our profession, because our job is to turn fictional stories into reality!
The creative process is very dynamic. People are enthusiastic; they see each project as something special and believe in it. That’s how you find yourself in a special world, you see your friends in a new way; you get a glimpse into their creative world”, – Vyšniauskas explains.
According to him, observation and ingenuity are paramount on a film set. “After receiving a film script, the art department’s job is to help create the atmosphere and ambiance of the film, which requires teamwork. This is why, on a film set, it is important to notice the details and those around you and be aware of yourself. The budget is vital in every film, but sometimes when making decorations and props, you realise that costly details are unnecessary – after all, we are building a certain empire of lies on the screen, and some issues can be played out in such a way that the audience will not even notice the difference.
Some of the set decorator’s projects include the famous, world-renowned series “Stranger Things”, which was also shot in Lithuania. “I received an invitation to join this series very unexpectedly from my colleague Neringa Batiuškaitė. I couldn’t believe it, because just a few weeks ago, when I was ill, my wife and I watched all the previous episodes on Netflix. I said it was a good series that would be fun to work on.
I worked as an assistant set designer during the shooting of “Stranger Things”. The greatest challenge, as is often the case, was the weather. The crew came to shoot snow, and there was none. Fortunately, on the last day, it got cold enough to make artificial snow. Later, several decorations could no longer withstand the weight of the snow, but the art team made the necessary repairs.
According to the set decorator, although the film industry has been dramatically affected by recent years’ events, namely, the pandemic, war, and new technologies, some things do not change, and the craftsmanship is one of them. “The art department, just like the director, tells the film’s story, albeit using slightly different means. Every time I contribute to a project, I encounter a new story, which makes my job very interesting and dynamic. You may be tempted to believe you know a lot, but you still experience something new with each project. Maybe it would be like this in life without films; however, films make everything more intense,” Vyšniauskas laughs.
He mentions intensity more than once during the interview. “At first, I worked a lot, but then, after a long time, I realized that I can choose projects, and I don’t have to do everything. We are hardwired to burn out, so I’m learning to be less demanding towards myself and others. It’s important to be able to enjoy the process of work and the result. On the way to the shooting, my conversations with the team often move beyond work, and we explore different subjects, such as creativity and life in general. This is when you realise what interesting people you have around you. It’s important to remember that you’re among living humans, not machines.
Every project is suck you in. You spend a lot of time on the set, so you start to live the film, delve into the story, and a certain historical period. The hardest thing after long shooting is learning to get back into your rhythm. It feels like you have a day off and need to recalibrate, get back into your life. Life is not all about cinema. With experience comes the ability to understand that you can’t do everything alone, and certain tasks can be delegated to others. I am from the generation that wants to do everything flawlessly; I have a streak of perfectionism. Therefore, it is essential to learn from success, to remember what worked, and not to forget that your success was not random. The right decisions brought you where you are.
The greatest joy for me is creating the atmosphere of a character from small, different details. I’ve noticed that the best ideas often come when you’re away from work, at the most unexpected moments. It’s important to write those ideas down, because those thoughts dissolve, like a dream you didn’t have time to tell,” Vyšniauskas says.
