Issue link: http://digital.copcomm.com/i/1381679
9 2 P E R S P E C T I V E | M A Y / J U N E 2 0 2 1 The Van It seems like a long time ago, and it was—May 2019, the time before COVID-19—those were the days. I long for the time when you could shake hands, hug and slide into a van with a bunch of folks you don't know yet. I relish all of those long nersatins ere e ld tr t find te tread te stres t te araters and decide on the texture and feel of the world we are about to create. That was the best—sharing the wonder of the greatest collaborative art form of all: making a motion picture. The Good Lord Bird was one to remember—driving in a van on location in Virginia with Mark Richard (co-creator/screenwriter/executive producer), Ethan Hawke (co-creator, executive producer, co-writer and star), Colleen Gibbons (location manager), Albert Hughes (EP/director), Marshall Persinger (EP), Ryan Hawke (EP), Peter Deming (DP), and Shea Kammer (Co-EP/UPM) and me. The story—based on a book by James McBride—is a really interesting take on American history, which is both dark and funny. It was very hard work to get a handle on, but it's a beautiful book written by a cool guy. r te first e das at te start rdtin this is the time in a jigsaw puzzle when a designer as t i all te iees lr side and tae inentr at ae. find all te at tside iees and te rners t ild te ndar. ateer dnt ae in te first e das ill find later. is is tre in teleisin especially, because you don't have scripts yet. Inside the van, I discover everyone's eating preferences and favourite starting time, along with T h e G o o d L o r d B i r d F I L L I N G I N T H E P U Z Z L E B Y J O H N B L A C K I E , P R O D U C T I O N D E S I G N E R A. PIKESVILLE HOTEL. ELEVATIONS DRAWN IN PENCIL BY GLENN RIVERS. A