Issue link: http://digital.copcomm.com/i/1043753
from the other rooms in the house, and his ceiling is slightly lower, subtle clues to his feeling trapped, veering toward explosion. In my research, I explored the alienation in the paintings and photographs of Edward Hopper, Andrew Wyeth, Saul Leiter, the sharp eerie lifelessness of Alex Colville. And always returned to the concept of hiding in plain sight: of communal living, skylights and bay windows, interiors that left nowhere to hide with the dramatic landscape of Inverness creeping inward. This journey was not just to uncover why Nic chose to hide, but how the people who loved him, in the healthiest way they knew how, could cause him to hide even further. Every choice I make as a designer is related to the character's journey in expressing the stories' underlying theme. On Beautiful Boy, I learned that allowing people to fail can be the greatest test of your love for them, and that fighting for the beauty you see in them, their potential, can prove unwittingly destructive. Nic has been sober for over thirteen years now. I designed this film not just for his family, but also for my family, and for the families whose children need not hide from themselves or the people who try to love them. ADG A. SHEFF HOUSE KITCHEN. LOCATION BUILD. PHOTOSHOP RENDERING BY ETHAN TOBMAN. B. SHEFF HOUSE KITCHEN. LOCATION BUILD. PRODUCTION PHOTO. C. SHEFF HOUSE FOYER. LOCATION BUILD. MODEL RENDERING BY ETHAN TOBMAN. D. SHEFF HOUSE FOYER. LOCATION BUILD. PRODUCTION PHOTO. Amazon Studios Amazon Studios A B E C D F