Passed away, the art director Gil Parrondo – El Universal (Venezuela)

The artistic director, spaniard Manuel Gil Parrondo y Rico, winner of two Oscar awards for his work in “Patton” (1970) and “Nicholas and Alexandra” (1971) and known for participating in movies such as “El Cid” or “Doctor Zhivago”, died today in Madrid at the age of 95, reported to Efe sources of the Film Academy.

Gil Parrondo, one of the artistic directors most recognized in the world, was nominated for an Oscar for “Travels with my Aunt” (1972) by George Cukor, and achievement four Goya for best art direction: “lullaby” (1994), “You’re the one” (2001), “merry-go-round c. 1950″ (2005) and “Ninette” (2006), all of José Luis Garci.

His nephew Oscar, explained to Efe that Gil Parrondo died this afternoon at his home, where he lived with his wife, Gabi Insúa. “I had No other disease than that of be higher. This year we have been rolling, from a novel by Sánchez Piñol, a film -”Cold Skin”, still brand new – and was still in active,” he said.

Born on the 17th of June in 1921 in Luarca (north), began working as an assistant decoration in 1939 and in 1951 took over the artistic direction of the film “day after Day”, by Antonio del Amo, and began a prolific stage and then work on various productions americans that were shot in Spain.

he Was responsible for decorations as impressive as the “Lawrence of Arabia” (1962) or “Spartacus” (1960) and worked with directors such as George Cukor, Stanley Kubrick, Orson Welles or Anthony Mann.

he Claimed that he had not made movies “good or bad” and achacaba his participation in films like “The return of The Musketeers” (1989), by Richard Lester, or his work with actors of the stature of John Huston, Ava Gadner and Charlon Heston to his “good luck, in addition to some work”.

Always felt a decorator of film rather than the artistic director and said that, despite “the machines diabolical”, as he referred to digital technology, had not budged.

During his career, he also worked in tv series such as “Rings of gold” by Pedro Masó, or “La Regenta” by Fernando Méndez-Leite and rode the scenography of plays like “Arsenic and antique lace” (1987), “Three hats of glass” (1992), or “The diary of Anne Frank” (2002), by José Tamayo.

The realism of the set was their sign of identity because he believed that the function of this was to “copy nature” and what is “fake” pass “unnoticed”, maximum to which he was faithful throughout life.