Issue link: http://digital.copcomm.com/i/1177962
6 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 1 9 WHO'S TALKING IN THIS ISSUE Claude Paré, Production Designer of SPIDER-MAN: FAR FROM HOME – page 85 ...for every location used, I visited an average of four more options. 141 sets later, I look back and realize how many discussions, false starts, hours designing and constructing sets, and travel were involved. Karen TenEyck, Graphic Designer for AD ASTRA, with Robert Yowell in the cockpit set of the Cepheus – page 56 He looked at me somewhat suspiciously and politely, but... After hearing about Ad Astra's need for professional guidance, graphics-wise, he was eager to join the team. Beth Mickle, Production Designer of MOTHERLESS BROOKLYN, with one of the period billboards created for the film – page 77 I submitted a budget understanding what most designers have learned from experience—we often send off these prospective art budgets for hopeful films that almost never come to fruition, but we keep our fingers crossed. Marcus Rowland, Production Designer of ROCKETMAN – page 68 In many ways, I find building sets easier, it massively increases your creative options and reduces the logistical problems associated with location shooting, give me a studio anytime. Franco - Giacomo Carbone, Production Designer of RAMBO: LAST BLOOD – page 108 The talent and commitment of all three cultures were never in question; it was all just a matter of style. In Spain, a two-hour lunch with perhaps a little vino is the norm. At first, it might have seemed that this would be at the cost of productivity. I discovered that the opposite was true.