Issue link: http://digital.copcomm.com/i/610353
P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 5 57 Guy Hendrix Dyas, Production Designer Luke Freeborn, Supervising Art Director Peter Borck, Art Director Susie Alegria, Assistant Art Director Emily Rolph, Graphic Designer Doug Pierce, Lead Set Designer Jason Byers, Lead Scenic Artist James Shefik, Scenic Artist Foreman Katy Moore-Kozachik, Wayne Olds, Tom Richardson, Scenic Artists Gene Serdena SDSA, Set Decorator "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." Opposite page, top to bottom: The corridor set, designed to suggest Davies Symphony Hall, under construction across the bay from San Francisco in the old Navy base at Alameda. The backstage loading dock, part of the 14,000-square-foot constructed set. Another view of the corridor set for backstage at Davies. The length and scale of the various corridors, loading docks and vestibules were carefully designed to complement Aaron Sorkin's dialog and the rhythm Danny Boyle wanted to maintain with his actors. Breaks in dialog were punctuated by a doorway entry and changes of space. This page, top: The dressing room corridor, part of the constructed set of an imaginary wing at Davies Symphony Hall. This hall leads to the VIP room and various dressing rooms. Above: The main corridor between stage left and right, another part of the set built for the back of Davies Symphony Hall. The Think Different portrait of Alan Turing was ultimately rejected by Steve Jobs because he thought nobody would know who he was (historical fact). Left: The instrument storage area, part of the backstage set built for the third act.