Issue link: http://digital.copcomm.com/i/1043753
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 3 WHO'S TALKING IN THIS ISSUE Ethan Tobman, Production Designer of BEAUTIFUL BOY – page 47 I did not think I could make this movie. How could I objectively interpret the Sheff family's story with my own playing out in real time? Nathan Crowley, Production Designer of FIRST MAN – page 84 If I could bring miniatures back into the Art Department, producing them cheaply on my own 3D printers, I could play with a larger Art Department staff and material budgets, allowing more flexibility with funds. Aaron Haye, Production Designer of BOHEMIAN RHAPSODY – page 64 When set decorator Anna Lynch-Robinson and I would look at options for Freddie's set dressing, we would say to one another, "I'm Freddie f'ing Mercury" and the choice would suddenly be obvious. Jon Hutman, Production Designer of THE HOUSE WITH A CLOCK IN ITS WALLS – page 38 Every inch of the house glows with secrets and tricks passed through generations of scenic professionals. Steve Arnold, Production Designer of MINDHUNTER – page 71 The series is somewhat different than many crime shows in that it's not a who-done-it, or even a how'd they do it, but more of a psychological exploration of why'd they do it.