Issue link: http://digital.copcomm.com/i/619377
10 P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 6 contributors HANNAH BEACHLER is a prolific Production Designer with an affinity for realistic design that emphasizes emotional drama. Citing set decorator Gene Serdena as one of her mentors and inspirations, Ms. Beachler has worked with high-profile directors including Renny Harlin, Peter Hyams, Gabriele Muccino and cinematographers Vilmos Zsigmond, Dean Cundey, Roberto Schaeffer, Michael Goi and Peter Menzies Jr. Born and raised in Dayton, Ohio, Ms. Beachler graduated from the University of Cincinnati's DAAP (Design, Architecture, Art, Planning) program and went on to Wright State University for film production and theory. The Art Department was always her focus. Her goal was to be a set decorator and her idol was Nancy Haigh. After a couple of years decorating and working with many different designers, she made the transition to Production Designer. While most of her family is still in Dayton, Ms. Beachler's brother and his family convinced her to relocate to New Orleans, where she currently resides. JUDY BECKER, a native New Yorker, began her film career in that city's fertile independent film community. She attended Columbia University and broke into the business as a props and Art Department PA, working on Saturday Night Live. In addition to the forthcoming release Joy, she designed The Fighter, Silver Linings Playbook and American Hustle, for which she received an Academy Award ® nomination. Ms. Becker has worked with many of today's most acclaimed directors, including Ang Lee, Lynne Ramsay, David O. Russell and Steve McQueen. She has served as Production Designer on Zach Braff 's Garden State, Jonathan Dayton and Valerie Faris' Ruby Sparks and Peter Sollett's Raising Victor Vargas. Carol is her second collaboration with Todd Haynes, following I'm Not There, and she designed the pilot for Lena Dunham's Girls, for which she received an Art Directors Guild Award. She lives on Manhattan's Upper West Side with her husband, the editor Michael Taylor. Born and raised in Milan, Italy, educated in theater and art history, STEFANIA CELLA developed a design style highly influenced by the interplay of light, shadow and color. From her sunny studio library, tucked away in the Hollywood Hills, she has researched, prepared and found inspiration for seventeen films, including ones by Nick Cassavetes (John Q), Barry Levinson (Man of the Year, What Just Happened) and Paolo Sorrentino (This Must Be the Place, The Great Beauty). The Great Beauty won the Academy Award for Best Foreign Language Film in 2014, and Ms. Cella received the David di Donatello Award for Best Production Design. Ms. Cella has designed commercials for Nike, L'Oréal, Cellular South and Dove, among others. She speaks fluent Italian, Spanish and English, and has worked in Italy, Spain, Germany, France, Turkey, Morocco, England, Ireland, Greenland, Finland, Holland, Nepal, India, the Bahamas, Toronto and the US. JACK FISK was born in a small town of 425 people in central Illinois, but moved around a lot in his youth, seldom spending more that one year in any school. He loved to build forts as a kid and still enjoys it today. Trained in the fine arts, his influences in film design came from The Little Rascals, and Production Designers John Box and Leon Erickson. He enjoys the illusion and magic of film design and can't think of a better life. ANASTASIA MASARO grew up in Toronto, the daughter of Italian immigrants. Her father was a carpenter and avid filmgoer who often took the family to see movies such as Indiana Jones and Star Wars (for a brief time, she entertained becoming an archaeologist to be just like Indy). Constantly searching for movies with lavish sets, she fell in love with Fritz Lang's Metropolis, Roger Corman's Edgar Allan Poe adaptations and Dante Ferretti's work on Terry Gilliam's The Adventures of Baron Munchausen, which inspired her to become a Production Designer herself. In 1996, she worked on Vincenzo Natali's Cube as an Assistant Art Director and hasn't looked back. Ms. Masaro realized a dream of working with Terry Gilliam herself in 2004 when she became the Art Director on Tideland, which led to her selection as Production Designer on The Imaginarium of Doctor Parnassus, which earned her nominations for both an Academy Award and a BAFTA Award.