Issue link: http://digital.copcomm.com/i/1072449
M A R C H / A P R I L 2 0 1 9 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Christopher L . Brown, Production Designer of THE ROMANOFFS – page 42 Henry and I were hop-scotching each other to find the worlds of the shows...put together a new team in each port...Skype/call/email and pitch concepts and solutions to a director shooting a different script in another time zone…who would soon be landing to scout/ shot list/and go to camera on the next story...all in an average of seven weeks. Kay Lee, Production Designer of DESTROYER – page 70 I was able to bring Emilie to work with me every day. Rather than becoming a distraction, I soon found that her presence was a good stress reliever for cast and crew alike. Patrice Vermette, Production Designer of VICE – page 77 I've always been interested in politics. Being born and raised in Canada, I've always seen the relationship between our two countries as similar to a family. America being the oldest of the kids, the one that we look up to and paves the way for the younger ones to follow. Fiona Crombie, Production Designer of THE FAVOURITE – page 83 The script was full of rich characters with wit, whimsy, bite, pain and extremely colourful language. Royal court pastimes included racing lobsters before eating them and pelting a naked man with blood oranges. I was being invited to create a world for these characters and I was being given a license to play. Desma Murphy, Supervising Art Director of AQUAMAN – page 54 Traditional considerations were largely thrown overboard with the realization that doors could be set into the ceiling, and stairwells were promptly abolished. Suddenly, every surface within the city could serve multiple purposes.