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N O V E M B E R / D E C E M B E R 2 0 1 8 | P E R S P E C T I V E 9 In between films, Crowley has also been the designer on four of the Costume Institute's exhibitions at The Metropolitan Museum of Art that accompany the Costume Ball in New York every May. Superheroes, American Woman, Impossible Conversations and China Through the Looking Glass. A A R O N H A Y E is a California-based designer with experience across a broad swath of the film industry. After graduating from the University of California Santa Cruz with a degree in marine biology, Aaron found his way back to the model shop of Industrial Light & Magic, where he spent years learning from some of the great pioneers of modern visual effects. In 2002, Aaron moved to Los Angeles and migrated into the developing niche of 3D design for film. He pitched the idea of integrated 3D design to anyone who might listen and soon found himself moving from visual effects into the Art Department. This unique background and cross section of experience led to involvement with visionary directors like David Fincher, Zach Snyder, JJ Abrams, Bryan Singer and Denis Villeneuve. Art Direction credits include The Curious Case of Benjamin Button, Star Trek, Man of Steel, Dawn of the Planet of the Apes and Terminator Genisys. Aaron's first opportunities to work as a Production Designer began in 2015 and he has been dragging his family around the world from location to location ever since. C O N T R I B U T O R S S T E V E A R N O L D was born and raised in Seattle, Washington, and graduated with a BA in scenic design for theater from Western Washington University in Bellingham. He got his master's from Carnegie Mellon University in Pittsburgh. While still a student at CMU, he was asked to assist the designer of a TV movie shooting in Pittsburgh. He soon started getting work on commercials and movies shooting in the area. He also started to get assistant work in New York City with several stage designers. After joining NY Local 829, he got work as an Assistant Art Director on the Alan Parker film Mississippi Burning and subsequently moved west to Los Angeles. He joined Local 800 and got a job the first week he was in town as an Assistant Art Director on the soap opera General Hospital. He soon got back to doing films as a Set Designer on The Doors and gradually worked his way up the ladder in the Art Department on films such as Bugsy, Forrest Gump and Spider-Man. To date, he has been involved in the Art Department on over forty feature films, numerous commercials and several TV series. Nominated for several Emmy Awards, he was the recipient of an ADG Award for House of Cards in 2016. He still makes his home in Los Angeles but has worked on shows out of town for the better part of the last ten years. N A T H A N C R O W L E Y was born in London, grew up in Islington very close to the Arsenal football club and attended Brighton School of Art in England. Crowley immigrated to the US in 1990. His first film job was on Hook, when he was hired by Norman Garwood as a Set Designer at Sony. This was followed by Bram Stoker's Dracula, where he met Tom Sanders. He worked as his Art Director for many years until Braveheart, where he decided to stay in Dublin, Ireland, and become a Production Designer on films such as Veronica Guerin. He returned to Los Angeles in 2000 to complete Behind Enemy Lines and met Christopher Nolan with whom he has collaborated on seven films to date.