Issue link: http://digital.copcomm.com/i/1124104
2 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 1 9 WHO'S TALKING IN THIS ISSUE Scott Chambliss, Production Designer of GODZILLA: KING OF THE MONSTERS – page 43 The other three monsters had remained stuck in a distant and mostly hilarious look from decades gone by, which gave plenty of room to work within. Patricio M. Farrell, Production Designer of THE HAUNTING OF HILL HOUSE – page 66 When I presented Mike Flanagan with the last part of the living room's fireplace design, he loved it, but said he had one condition: That I put my face on it. On the right side corner. "You are already part of the house, you should be in it," he insisted. Rachel Myers, Production Designer of KIM POSSIBLE on the Shego lair set – page 62 The design of the super villain lairs was my favorite part of the design process. I tried to distinctly separate and punctuate each location, while also speaking to the larger legacy of action movies. Andrew Jackness, Production Designer of NOS4A2 – page 89 Sketching is one of the languages that I use to communicate with the writers, directors and my team. If we all understand the other's vision, it helps get a cohesive vision onto film. Michael Bricker, Production Designer of RUSSIAN DOLL – page 95 With the Production Design of Russian Doll, a balance is struck between the authenticity of New York and the visual thematics of pain, decay and trauma.