Beauchamp Fontaine is a Los Angeles-based Production Designer with an impressive background in Set Decoration. She recently designed Cody Heller’s off-beat Quibi series Dummy, starring Anna Kendrick. Before this, she was hired to design the Fox feature film, The Boy Who Knew Too Much, for acclaimed director Peter Chelsom until the project was shuttered during pre-production.
More than 12 years of commercial Production Design experience provided Beauchamp with myriad opportunities to create sets of all sizes and scales. From a full library of domino’ing shelves; to a camp for dogs complete with a dock and an infirmary; to houses, offices, banks, and topiary worlds, she has designed it all. Known for the array looks she can achieve, her design and decorating style ranges from a tasteful melding of masculine metropolitan chic with an understated traditional sensibility to a contemporary elegance that is both sophisticated and accessible.
Recently, Beauchamp teamed up as Art Director with Designer Peter Wenham on Antoine Fuqua’s The Guilty, starring Jake Gylenhaal, and as Set Decorator with Production Designer Greg Weimerskirch on the Apple TV+ limited series, The Last Days of Ptolemy Grey, starring Samuel L. Jackson.
As an accomplished Set Decorator, she has enjoyed multiple collaborations with filmmakers such as Richard Linklater, whose Where’d You Go, Bernadette was a heady challenge with numerous sets spanning the course of two decades, and whose Last Flag Flying allowed her to demonstrate a necessary subtlety—ranging from dive bars to working class homes—all deliberately tailored to the specific period and geography of this 2013-set tale.
One of Beauchamp’s most exciting endeavors was collaborating on the U.S. unit of Alejandro González Iñárritu’s critically acclaimed feature, The Revenant, which allowed her and Production Designer Jack Fisk to create a historically accurate 1812 Pawnee village, earning the team an Academy Award nomination for Production Design.
Other notable projects as Set Decorator include, Alexander Payne’s Oscar-nominated Nebraska, Terrence Malick’s Knight of Cups, Louis Leterrier’s blockbuster, Now You See Me, and Jeff Nichols’ indie gem, Mud.
Whatever the time and place, Beauchamp is well-respected for her accurate period detailing, as evidenced The Playboy Club (1960s), The Runaways and Swingtown (both 1970s), and the exquisite flashback sequences from The Skeleton Key (1920s).