Issue link: http://digital.copcomm.com/i/1152740
scouting. This is the time to find the language I will use to define the world of the story. Starting that journey with George and Grant, who were so clear and confident about their vision for Catch-22, made a daunting job a complete pleasure. Blessedly, the honeymoon continued with a wonderful working relationship with cinematographer Martin Ruhe, visual effects supervisor Matt Kasmir and costume designer Jenny Eagan. I cannot thank my wonderful Art Department enough, the scores of gifted carpenters and painters, and the meticulous work of Anna Pinnock and Alessandra Querzola. I feel so incredibly lucky for the opportunities that have been afforded me in my career. Catch-22 is among the most rewarding of those pleasures. ADG David Gropman, Production Designer Karen Schulz Gropman, Alexandro Santucci, Supervising Art Directors Gianpaolo Rifino, Briseide Siciliano, Art Directors Marco Furbatto, Massimo Pauletto, Assistant Art Directors Silvia Colafranceschi, Dario Nolé, Set Designers Emanuele Pellegrino, Model Maker Marco Torresin, Illustrator Silvia Fontana, Matteo Fait, Graphic Designers Anna Pinnock, Alessandra Querzola, Set Decorators H. SANDBAG TOWERS OF BEAUTIFULLY CAST AND PAINTED FIBERGLASS THAT COULD BE EASILY MOVED IN AND OUT OF DOORWAYS I. SOMETHING AS SEEMINGLY STRAIGHTFORWARD AS A FLOATING DOCK TAKES A BIT OF SMART ENGINEERING TO MAKE IT PRACTICAL AND ACTOR-FRIENDLY. G F I H