Issue link: http://digital.copcomm.com/i/765720
who's talking in this issue 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 7 3 MICHAEL CORENBLITH, Production Designer, on THE FOUNDER – page 50 "The parabolic Golden Arches reference a space age vocabulary...their tense spring lines give the same dynamism as the Theme Building at LAX." GUY HENDRIX DYAS, Production Designer, on PASSENGERS – page 38 "The forward observation deck is a place of meditation. The karesansui dry landscape, or Japanese rock garden, offered a fitting motif for this set." JEAN RABASSE, Production Designer, on JACKIE – page 84 "Director Pablo Larraín and I needed to go as far as possible into the Kennedys' intimacy, to make more explosive the pain and the strength of this woman." PATRICE VERMETTE, Production Designer, on ARRIVAL – page 74 "The ink particles would float to create strange circular shapes, their movements would be inspired by the distribution of ink drops in water on a piece of paper." CHARLES WOOD, Production Designer, on DOCTOR STRANGE – page 102 "I scouted the city on several trips, and immediately became almost overwhelmed by the staggering, intoxicating beauty of Kathmandu." Center, left to right: Illustrator, Scenic Artist and Production Designer Ben Carré (1883–1978) laying out a backing on the MGM paint frame in 1942 (page 21). Five-time Oscar ® nominee Albert Brenner, shown here at the Guild's Gallery 800, received the Milan International Film Festival Da Vinci Award (page 18). Paul Sylbert (right), pictured with his first wife Anthea and his twin brother Richard, died November 19, 2016, at his home near Philadelphia (page 130).