Issue link: http://digital.copcomm.com/i/1124104
working with director Peyton Reed. Anyone who has ever worked with him (or met him) knows that he's the nicest director in Hollywood. He's such a collaborator and he trusts his team. He has a strong vision and a great sense of humor in telling the story of Scott Lang and Hope Van Dyne, all while allowing his collaborators to help him create his vision. He had an open-door policy that made me feel like such a creative partner. I will always appreciate his amazing leadership on this film. The third reason I loved working on this film was because I got to work so closely with the costume designer Louise Frogley and head specialty costume creator Ivo Coveney. For many months, I worked with them and their team of costumers to help realize these superhero suits, going over every design element, attending several costume fittings with all the actors, and visiting the set to see the final results of all our collective hard work. It was a very rewarding experience to be so intimately involved from preproduction through the actual production of the film. Captain Marvel. I'm so proud to have led our department on both the two Marvel Studios films that debuted a female heroine as the title character. Captain Marvel, much like Black Panther, had a big responsibility on its shoulders. I was gratified to be able to design her superhero look throughout the film. I wanted to create a design that was respectful to the source material (the comic book origins) and that portrayed a strong, powerful and physically appealing female hero, D E D. APPROVED CONCEPT DESIGN OF HELMETED VERSION OF VERS OF STARFORCE. THIS DESIGN BECAME THE BASIS FOR THE REST OF THE STARFORCE MEMBERS. PAINTED IN PHOTOSHOP. E. APPROVED CONCEPT DESIGN OF CAPTAIN MARVEL. PAINTED IN PHOTOSHOP.