Issue link: http://digital.copcomm.com/i/1109293
M A Y / J U N E 2 0 1 9 | P E R S P E C T I V E 1 1 S T E V E J O Y N E R was born and raised in Phoenix, Arizona, where he was active in high school and college technical theater. He attended the College of Architecture at Arizona State for a year before switching to electrical engineering. While working a summer job in a Phoenix computer store, he was hired to work on the 1987 feature Campus Man (coincidentally, produced by Jon Landau). There he met members of the film community and was soon doing commercials. He moved to Los Angeles in 1992 and rode the wave of production as a prop master on Showtime and HBO movies. He met Robert Rodriguez in 1995 and worked with him on From Dusk Till Dawn. In 2005, Robert and Quentin Tarantino gave him the opportunity to move up to Production Design on their double feature Grindhouse. Steve counts David Wasco, Tony Cowley and Nigel Clinker among his Production Design mentors. His notable films with Caylah Eddleblute include Jackie Brown, Kill Bill, the Spy Kids franchise, Sin City, Inglourious Basterds and Predators. He splits his time between Los Angeles and Austin, Texas. Inspired as a kid by the gritty-yet-sublime aesthetic of Jim Cameron's The Terminator and Aliens, he was thrilled to be offered the chance to work on Alita: Battle Angel. P I E R R E - O L I V I E R V I N C E N T most recently served as Production Designer of How to Train Your Dragon: The Hidden World, the third and final installment to the beloved films based on Cressida Cowell's novels. Prior to his work on How to Train Your Dragon, Vincent worked on the computer-animated DreamWorks Animation and Aardman comedy, Flushed Away. Vincent joined the studio as a layout artist on The Road to El Dorado and went on to character design for the animated adventure Spirit: Stallion of the Cimarron. He also served as lead sequence design artist on the Academy Award-nominated film, Shark Tale. Prior to joining DreamWorks, Vincent worked as a visual development artist at Gaumont Multimedia on various television animation projects. After film school, Keith entered the film industry as a Set Designer and worked his way up the Art Department ladder eventually earning Art Director credits within varied genres, including Steven Soderbergh's Ocean's Eleven, M. Night Shyamalan's Signs, David Fincher's The Social Network and Paul Feig's Bridesmaids. Captive State marks his second design collaboration with director Rupert Wyatt. They first worked together on The Gambler. Keith's other Production Design credits include Enough Said, Love & Mercy and The Accountant. His first feature film credit as Production Designer was on the indie film (aptly titled) The First Time, directed by Jon Kasdan. He has recently finished production on Amy Poehler's directorial debut comedy titled Wine Country, which will open this summer. Keith lives in Los Angeles with his wife and two daughters. C A Y L A H E D D L E B L U T E had lived in the Bay Area, Upstate New York, on the Colorado prairie, and had spent a good bit of time in the Rockies, up near the Wyoming border, by the time she was eleven. A move in high school to the Sonoran Desert of Tucson, Arizona, and a degree in agricultural communications led to writing and photo gigs there. While working in the construction department on a modest feature, she crossed paths with Steve Joyner. He was knee-deep in set dec fabrication. After working as set dressers and property assistants, they bought a five-ton truck, equipped it to go out on their own, and set up a command post in a studio at the Sea Isle on Sepulveda, down the block from Tito's Tacos. Great times. Movies of the Week followed, one after the other. Finally, a break. Robert Rodriguez was directing a movie called From Dusk Till Dawn, written by Quentin Tarantino. Most fun ever. The cresting wave of challenges she's tackled with a formidable Art Department crew now include Alita: Battle Angel's Iron City. C O N T R I B U T O R S C O N T I N U E D F R O M P A G E 8