Issue link: http://digital.copcomm.com/i/1010570
S E P T E M B E R / O C T O B E R 2 0 1 8 | P E R S P E C T I V E 9 Since moving back to New York City in 2013, Curt has been designing for both film and television. More recently, Curt has worked with Spike Lee as Production Designer for season one and two (currently in production) of She's Gotta Have It for Netflix. He is thrilled to again collaborate with Spike on BlackkKlansman. M A R K B R I S T O L trained to be a storyboard artist by studying Joe Johnston's work in the book Raiders of the Lost Ark Illustrated Screenplay when he was eleven years old. His first credited film was Dazed and Confused, filmed in his hometown of Austin, Texas. Since then, Mark has been honored to work on over eighty films such as Memento, The Thin Red Line, The Tree of Life, Saving Mr. Banks, Edge of Tomorrow, Mission: Impossible - Rogue Nation, Despicable Me 3 and most recently Mission: Impossible - Fallout which is his fourth collaboration with writer, producer, director Christopher McQuarrie. Mark loves working from his home studio, but considers traveling around the world one of the greatest joys of the profession. When he's not drawing other people's films, he is busy as an award- winning writer-director for commercials, feature films and video games. N E L S O N C O A T E S is the fourth of five children of university professors, Nelson was encouraged to perform and be a storyteller from an early age—with his first acting job at six years old. With years of professional singing, dancing and acting under his belt, Nelson also began to design for the stage. As his acting expanded to commercials & television, so did his design work. His first feature design work involved creating a three-ring circus, midway & backstage area with only twelve days of prep! With design and acting experience from around the globe, Nelson relishes any challenge to build worlds, creating unique memorable narrative spaces in which he also would love to perform. C O N T R I B U T O R S R A M S E Y A V E R Y I started out in college as an astrophysics major at the University of Wyoming, acting in shows at night. An uncle who was a world- famous astronomer explained that if there was no money to be made in theater, there was also no money to be made in astronomy, so I should follow where my heart was truly leading. That wasn't to the top of cold, dark mountains. So I changed majors, struggled with a drop in GPA (acting is HARD!), and ended up getting an MFA in theatrical set design from Cal Arts. The day after graduation, I started as a PA on The Cosby Show, and found myself quickly the combined Set Designer, Art Director, set decorator, and trucking coordinator on both A Different World and Roseanne, at the same time. (Sitcoms were nonunion back in ancient times.) Since then, I've been the Supervising Art Director on Guardians of the Galaxy Vol. 2, Star Trek Into Darkness, Tomorrowland and Team America, among other major films, and I've now designed several films, including 10 Cloverfield Lane, Hotel Artemis and the upcoming Peppermint. Two others, Waitress and Right at Your Door, were Sundance selections. In addition, there have been many national commercials, plus a Superbowl spot for Dodge, and an ADG nomination for the live-action trailer for The Bee Movie. C U R T B E E C H ' S career in film started after getting his MFA in theatre design at UCLA, where he studied under guest lecturer and mentor Andrew Jackness. That was the last time he was in a theatre without a ticket. He got his first gigs in the industry working as a PA on Criminal with Philip Messina and in David Wasco's Art Department on Collateral. After mastering coffee, kitchen crafty, the last glorious whiffs of blueprints and timecards, he was an Assistant Art Director on War of the Worlds, Mission: Impossible III, Ocean's Thirteen, Get Smart and Transformers: Revenge of the Fallen. His Art Direction credits include Star Trek, Greenberg, The Social Network, The Help and Lincoln.