Issue link: http://digital.copcomm.com/i/1061165
9 8 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 1 9 I saw the original Heathers movie during my final year of art school. It was the fall of 1988 when big perms, shoulder pads, and a dark foreboding was creeping into film and popular art. Heathers was my first introduction to the genre of anti-John Hughes movies and wickedly memorable dialog such as "F--- me gently with a chainsaw." As an art student, I was drawn to the candy-hued suburban setting of Heathers. It was the one of first times I had seen color used thematically to delineate characters in a teen film. A C o l o r f u l J o u r n e y i n a D i s t u r b i n g D i r e c t i o n H E A T H E R S B Y R O B E R T W. J O S E P H , P R O D U C T I O N D E S I G N E R Decades later, I received an email from Jason Micallef, the creator, writer and show runner of the newly developed TV series, Heathers. He wanted to know if I'd be interested in designing the show. Having been the Art Director on the pilot with Jason and Production Designer Michael Gallenberg, I was excited to dive back into this stylized world of teen jealousy, betrayal and aggression. The show was originally conceived as half-hour episodes, but the network liked the pilot so much they changed to an hour-long format. A