ADG Perspective

January-February 2020

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J A N U A R Y / F E B R U A R Y 2 0 2 0 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Maher Ahmad, Production Designer of NOELLE – page 64 From the start, we decided that it had to be built out of doors, in a mountain location where it always snows during the winter, and have the set buildings be covered by real falling snow. Mark Ricker, Production Designer of BOMBSHELL – page 92 Fox has also been noted for displaying its "viewer art," and Adam Alonzo the Art PA and graduate of the ADG Production Design Initiative Program, provided a bounty of personalized fandom. Warren Alan Young, Production Designer of HARRIET – page 104 Her story and her spirit guided us. When faced with tough situations regarding the making of the movie, we often found ourselves asking, "What would Harriet do?" Jess Gonchor, Production Designer of LITTLE WOMEN – page 76 To me nothing makes a period film look more visually pleasing than the use of graphics and signs—it transports the audience to a time and a place like no other visual aid. Craig Lathrop, Production Designer of THE LIGHTHOUSE – page 108 I showed everyone my model and discussed what would be involved. To my pleasant surprise, nobody asked me to leave the room! And in a couple of weeks, the initial costs were approved...

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