Issue link: http://digital.copcomm.com/i/1381679
the network. It also gave the director and all the producers a chance to visualize what we were after in terms of texture and wardrobe, makeup style and set dressing. Buying Time As usual in television work, there is never enough time to respond to script revelations. As a designer, one needs to mine heads to gather enough information from writers to guess at what is coming down the pipe. I had a past relationship with Mark Richard, so I would pitch ideas to him, as well as involve him in location scouts, to keep everyone going in the same direction. Colleen Gibbons, the location manager, was also a master of gathering intel into the future. She would have ideas for locations that were out of the box, and between the two of us, we would pitch a sligtl dierent tae n a sene and rn it the writers. There were always orphan scenes that need t e aired it anter latin t fill t a da. lleen as reall gd at finding great options. We always had a plan and a backup, to makes sure things could keep moving forward. Also, a good relationship with the writers (Ethan Hawke was also a writer) allowed room for creative interretatin. latin an inene te eel and md a sene finding ne tat is nt exactly as written, but enhances the story requires all to believe in that choice. It is a beautiful thing when it works—for example, changing a mansion to a park or an auditorium to a church, always protecting the intent of the story. D E F G