Issue link: http://digital.copcomm.com/i/1381679
P E R S P E C T I V E | M AY / J U N E 2 0 2 1 3 WHO'S TALKING IN THIS ISSUE N e i l P a t e l, Production Designer of DICKINSON – page 62 The qualities of glamour, luxury, the complexities of adulthood and fame became for me central to the Production Design of the season, as they would inform the design in dierent eisdes an rnate era se and a real mae. M a r k F r i e d b e rg, THE UNDERGROUND RAILROAD Friedberg photographed in the slave quarters built at the Myrtle Grove Plantation – page 58 The design challenge of the slave quarters was to create a sense of community and home in what was essentially a concentration- stle r am. nd nt nl t find eat and nrtre itin tis rrr t t find eritage and ltre. J o h n B l a c k i e, Production Designer of THE GOOD LORD BIRD – page 94 There is always more than one approach to solve a problem—this time, communication as mre eient tan draings and arals. giing te ars and ainters immediate rse te rt Deartment gt time t design and dra te net mnents. U l i H a n i s c h, Production Designer of THE QUEEN'S GAMBIT Wallpaper test prints in the Berlin Art Department – page 101 Of course, the right period was always seriously considered, but there was a freedom, or rather the sense to push further ahead reimagining at ets rld ld e. ats te strtelling filmmaing artisti reedm m alas ling r. J u d y B e c k e r, Production Designer of RATCHED – page 89 s alas en an reer t se real materials r s an imrtant set. e eard sme ele sa tat sing real materials marle et. isnt reall designing and find tat int ie emdies te site m gals as a designer.