Issue link: http://digital.copcomm.com/i/929567
P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 8 1 who's talking in this issue ELIZABETH H. GRAY, Production Designer of GET SHORTY – page 77 "Does construction have hair dryers or space heaters they can bring out to melt the snow?" (That was a real question.) EVE McCARNEY, Production Designer on THE BALLAD OF LEFTY BROWN – page 61 "Even given the formidable nature of the job, there's something special about doing a film on location—you eat, sleep and breathe the show. It becomes your world for that period of time and the crew your family." RICK HEINRICHS, Production Designer on THE LAST JEDI – page 40 George Lucas first made Star Wars in a kind of fantasy-documentary style, plopping the audience into the midst of a real/fictional story-in-progress. The technology looked unremarkably purposeful and the environments were presented as if they were just "shot on location on your average, everyday Death Star or Mos Eisley spaceport" Production Designer Carlos Barbosa on the construction site of the town of La Belle, built for the Netflix series Godless, near Santa Fe, New Mexico. page 80 Production Designer Inbal Weinberg on location in Sylva, North Carolina, supervising the placement of the billboards for Three Billboards Outside Ebbing, Missouri. page 50