Issue link: http://digital.copcomm.com/i/1152740
S E P T E M B E R / O C T O B E R 2 0 1 9 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Stephen Carter, Production Designer of SUCCESSION – page 93 Generally for Succession, I want a level of improbable scale to convey the wealth of our characters. Tastemakers may debate the correctness of place setting trends this season, but in cities like New York, nothing says bloated bank accounts like overabundant space. Peter Francis, Production Designer of KING LEAR – page 74 A bust of Anthony Hopkins was commissioned in the style of Mussolini, finished in a verdigris bronze, it sat on a pedestal on the altar and it became an important feature of the scene. Akin McKenzie, Production Designer of WHEN THEY SEE US – page 85 Central Park was bustling that day. There were young couples, hipsters and children running free—all ethnicities enjoying the warmth. The best moments in New York are the first warm days of spring. David Gropman, Production Designer of CATCH-22 with Supervising Art Director Karen Schultz Gropman on location in Italy – page 40 ...and one undeniably perfect location in Olbia, on the island of Sardinia. This landed us squarely in Italy, which seemed an all too perfect and inevitable choice. Karen Steward, Art Director, SUSTAINABILITY LITERACY IN THE FILM INDUSTRY – page 33 This philosophy means designing and managing products and processes to systematically avoid and eliminate the volume and toxicity of waste and materials, conserve and recover all resources, and not burn or bury them.