Issue link: http://digital.copcomm.com/i/834282
8 P E R S P E C T I V E | J U LY / AU G U S T 2 0 1 7 contributors JUDY BECKER, a native New Yorker, began her film career in that city's fertile independent film community. Her first love was art, and she was strongly influenced by her artistic mother who took her from a young age to New York's many museums. At Columbia University, she published graphic stories, and frequented the many revival and art house cinemas that flourished in New York in the 1980s. Ms. Becker began her professional career as a props and Art Department PA, working on Saturday Night Live. She learned her craft on the job, working her way up as a prop person, set dresser, set decorator, Art Director, and finally, Production Designer. She is a frequent collaborator of David O. Russell and Todd Haynes, received Oscar ® and BAFTA nominations for American Hustle, and an ADG Award for the pilot of Lena Dunham's Girls. When not working in Los Angeles or on location, Becker lives in Manhattan's Washington Heights with her husband, the editor Michael Taylor. JULIE BERGHOFF began her film career building models for special effects companies in Chicago. That soon led to Art Direction, designing the stop-motion-animation Fox television show The PJs, starring Eddie Murphy. Soon after, she began her commercial and music video career working with directors such as Herb Ritts, David LaChapelle and Jared Hess. Her evolution into feature films began with James Wan and the independent film Saw. She then diversified from the horror genre to comedy, collaborating with director Lisa Cholodenko on the 2010 Golden Globe and Oscar-nominated film The Kids Are All Right and the 2015 Emmy ® winner, HBO's Olive Kitteridge. Her other film credits include The Last Witch Hunter, The Conjuring 1 and 2, Neighbors, the pilot for Preacher, and five one-hour films based on the short stories of Phillip K. Dick. The Handmaid's Tale is her first collaboration with Reed Morano and Bruce Miller. TRISTAN MILES THEOPHOLIS DALLEY grew up in the theater in Omaha, NE, went to the University of Evansville, and finished with a BFA in theater design, a minor in art, and two associate degrees in graphic design and sculpture. He met his partner, Lana, in the last semester of senior year, fell madly in love, got married six months later. The two went to graduate school together at the University of Washington where he received an MFA in Scenic Design. Throughout (and after) graduate school, he worked at the Seattle Children's Theatre as master puppet maker, under the tutelage of Doug Paasch. He completed an MFA in London with an internship at the Royal National Theatre, and moved to Southern California and a job at South Coast Repertory. At Nickelodeon, he built the hero sculptures for a show called iCarly and eventually became an Assistant Art Director. He has worked on all the subsequent Dan Schneider shows: vicTORIous, Sam & Cat, and now Henry Danger and Game Shakers. DAVID BLASS grew up in Ashland, MA, and received his degree from Emerson College in Boston. Upon arriving in Los Angles, he followed in the footsteps of many who had come before, working at Roger Corman's shop in Venice, learning how to design on a dime and create a multitude of sets in every style and form. After some twenty films, he made his first foray into television Production Design on the Sci-Fi superhero series Black Scorpion. From there, he worked as an Art Director with Charlie Lagola on the feature Crazy as Hell, and the series ER, Harry's Law and Justified, which Blass took over as Production Designer at the end of the first season and earned two Emmy Award nominations and an ADG Award nomination for his designs of the modern-day Western. Keeping in the genre, he designed another modern Western, Longmire, and picked up a third Emmy nomination for his designs of the DC Comics series Constantine.