Issue link: http://digital.copcomm.com/i/1241865
M A Y / J U N E 2 0 2 0 | P E R S P E C T I V E 1 5 A. ALAN'S DRAFTED DETAILS FOR THE MOS EISLEY CANTINA SET FROM STAR WARS. B. THE MOS EISLEY GARAGE SET, DETAILED AND DRESSED BY THE AUTHOR. C. A FUTURISTIC SET FOR A BOEING COMMERCIAL, AND EXAMPLE OF ONE OF THE MORE THAN 300 COMMERCIALS ALAN DESIGNED. D. BOB DOLE PROMOTES VIAGRA, ONE OF THE MOST FAMOUS COMMERCIALS OF THE '90S, DESIGNED BY RODERICK-JONES. E. AVANTI. ALAN AT WORK DESIGNING THE REST OF HIS GOLDEN YEARS. with his ob titles expanding as those around him are fi red for every imaginable reason. The later years of Alan's career are spent as a roduction Designer for commercials, and he touches on some of the hundreds of commercials he designed in the 1980s-90s. or those old enough to remember when most television was network and the commercials produced were seen repeatedly by a captive audience, much of his work on this front will be remembered. The title The Empty Stage is a metaphor for both the potential of a design one feels when looking at a blank canvas, and the possibilities of the human spirit. A uote from late in the book touches on this: "When sitting on stage as my crew fi nishes building and the set decorator and crew add the fi nishing touches, it feels transcendent to ust be in context with a space that within hours turns into someone's wildest imaginings come true—a new reality. ife fulfi lls all dreams even before the words are spoken or the pencil can sketch them out on paper." Among the last images in the book are the remains of Alan's home of thirty-four years, burned in the Malibu fi res a year and a half ago, and his family arm in arm. The Empty Stage is available in print at arnes oble and Amaon, where you can also get a digital version. A B C D E