Issue link: http://digital.copcomm.com/i/1260764
5 0 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 0 H u n t i n g D o w n T H E D E S I G N O F H U N T E R S B Y C U R T B E E C H , P R O D U C T I O N D E S I G N E R In Hunters, a graphic-novelesque series that follows Al Pacino as eyer Offerman leading a group of Nazi hunters in a gritty, stylized version of New York City, the design problems were simply stated, but difficult to execute -ow does the design satisfy the tone of a graphic novel with a late-seventies vibe, while grounding itself and feeling authentic -ow to suare that somewhat playful tone with flashbacks to II concentration camps, ghetto expulsions, and the indertransport without glamorizing what happened there or getting too tied to documentary reality -If successful, how should the production team feel about what was accomplished, and, more to the point, how is the audience to feel A The answers turned out to be more complicated than the set list suggested, which is what made this project both rewarding and difficult in eual measure. As is often the case, the resulting all- important tone was elusive in the early going before the pilot director had landed. The work had already begun, but was this to be a comic book show, a graphic novel show or a based-on-true-historical- events tribute Turns out, it was all of these in different amounts. First Things Always First If concept is perhaps conceived in the pitch deck, then it is born when the first stage set starts proper design development. As the first major point of departure, where the decisions become permanent A A. MEYER OFFERMAN'S SITTING ROOM AT THE EXPLORER'S CLUB NYC. SET PHOTO. B. ISAAC BLESSING JACOB BY GERBRAND VAN DEN EECKHOUT, 1642. THE MET MUSEUM COLLECTION. C. MEYER OFFERMAN'S SECRET ROOM. SKETCHUP MODEL. DRAWN BY CURT BEECH. D. MEYER OFFERMAN'S SECRET ROOM. STEINER STUDIOS, BROOKLYN. DRAWN BY MARTIN FAHRER. E. SECRET ROOM. SET PHOTO BY CATHY MARSHALL. F. SECRET ROOM. PRODUCTION STILL. B