Issue link: http://digital.copcomm.com/i/610353
this massive set in just ten weeks. Meanwhile, Graphic Designer Emily Rolph created the ultimate print exhibit by resurrecting Apple's 1998 "Think Different" poster campaign and a series of twenty-foot-tall super-graphics depicting historical legends whose ideas changed the world. Susie Alegria and Art Department coordinator Kelli Lundy spearheaded the goliath task of legally clearing each image. When finished, the set truly felt like a shrine to great people and great ideas. Steve's VIP room set was a special "one last thing" for the entire Art Department team. The story spends a great deal of time in this space and from a multitude of angles. Guy and I worked tirelessly to make this into an unforgettable moment in the movie by considering every angle and surface. Again, the construction and decoration teams rose to the occasion. Doug Williams' crew formed and fabricated the intricate draped acrylic ceiling in house. Gene Serdena's dressers maintained the reflective motif with massive mirrors and a very special hand-crafted vanity. Emily Rolph created a super-graphic translight that made the space feel like an ethereal jewelry box. Emily Rolph on Graphics for Act 3: In the culmination of Act 3, Steve is at the height of his ascent and we used Davies Symphony Hall as it's the most grandiose of the modern venues. Dramatic black-and-white photography and Apple advertisements covered the whole constructed backstage set, acting both as venue décor and presentation promotion. These images included the iconic "Think Different" ad campaign covering several forty-foot walls. Twenty different Apple advertisements lined the hallways, and ten full-size banners hung from the vaulted ceilings in the lobby. The graphics, the largest and most striking of the film, fill the whole frame just as Steve's larger-than- life influence fills the whole world. For many years, I had worked as a product designer for Sony in Tokyo before transitioning to the film industry. I have fond memories of that time, designing products for a cutting-edge electronics company, and believe that Apple's design philosophy picked up somewhere where Sony left off in the mid-nineties. For the keen eye, you'll notice the discreet picture of Akio Morita, my old mentor and Sony's founder, pinned to the wall of Steve's garage among other heroes of Steve's: Dieter Rams, chief designer at Braun, and Bob Dylan are there too. This attention to detail sums up how passionately we felt about the film. Steve Jobs is not an obvious film for an Art Department to get excited about, yet we all felt a common responsibility to show an imagined snapshot into the life of a man who loved and cared so much about innovation and elegant design. ADG