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Production Designer
In true gemini tradition, Jean Landry has simultaneously developed two, sometimes dueling careers as both a production designer and a modern dancer. After attending the North Carolina School of the Arts and California Institute of the Arts as a dance major she moved to New York City in 1987 and performed primarily with the Kumiko Kimoto Company.

After performing throughout New York City and in Europe for four years Landry moved back to Los Angeles to marry her college sweetheart (and Inheritance director) Kris Kristensen. There she got sucked up into the swirling mass of the film industry. She worked as a set decorator/dresser on numerous film and television projects. The earth then literally shook them loose and deposited Landry and Kristensen in Seattle in 1994.
Landry immediately began performing with the Pat Grainey Company and Peggy Piacenza; with whom she continues to work with today. All the while keeping her film chops in shape by designing Kristensen's award winning video Life & How To Live It, Mark (Nell) Handley's The Good Egg, and Brian McDonald's award winning short White Face, Randy Nargi's upcoming feature G-Sale and Kristensen's much anticipated feature film debut Inheritance.
Landry found it difficult simply being married to Inheritance's writer/producer/director/editor Kristensen. She backpeddles, "Don't get me wrong, I love Kris dearly, but I perhaps had too much history invested in the project to keep the amount of blood, sweat and tears manageable. It was in a sense my baby too, and I knew way too much about it's back story and what was going on behind the scenes to ever relax."
The stress level didn't go down when her home was partially turned into a production office. Landry and Kristensen literally slept in an oversized closet where their double bed fit snuggly, except for the foot of the bed which sloped about a quarter of a foot up the wall. Landry grins, "It was pretty much entirely a stressful experience for me, which after learning so much I would do again in a heartbeat." As a professional dancer, she has developed an unhealthfully intense work ethic, "which under these abnormal circumstances was a self imposed death senctence." To make things just a little bit worse, the couple also manages their apartment building, "during the shoot we had three vacancies, which had to be rented out during our one day off per week."
The intensity level finally caught up to Landry on the second to last day of production while shooting in the cemetary. "All I remember was suddenly being so tired that I couldn't stand up, and then I woke up under a tree near some tombstones and a little circle of drool on my sleeve. I have no idea of how long I was asleep, but later heard that it was the better half of the afternoon." When she awoke Landry thought she was dreaming when their key grip Chris Duffel showed up with several gallons of ice cream for the whole crew. "Luckily, it was no dream. Mmm... Ice cream."
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