Issue link: https://digital.copcomm.com/i/1196709
1 1 0 P E R S P E C T I V E | M A R C H / A P R I L 2 0 2 0 I look for two things whenever I am o ered the opportunity to work on a show. They are the ability to dig into a world I fi nd compelling enough to learn about for the fi rst time, and a logistical and design challenge. The Morning Show supplied both and then some! This was a world that I knew little about—the intimate workings of morning-show television through the perspective of the people behind the scenes, and the brutal cutthroat nature of what it takes to get it on the air every day, juxtaposed against the aura and presentation of fun and family that millions of people wake up to in their homes every morning. Creating a network with a history of shows that have evolved from radio broadcasts in the s to programing that generates a billon dollars a year in advertising, coupled with the challenge of designing a set that re ects our current -hour electronic media world was certainly a compelling challenge. As a bonus to this was a plot line based on the true story of a sexual harassment incident that resulted in the fi ring a major T host that made international news. I was hooked. It started with a bus display. For the past four years, I've been away from ew ork a lot, and every time I come home, I'm amaed by how much the city has become a wired electronic wonderland. The proliferation of LD displays on bus kiosks, buildings and signs really struck me as if the city had become one big T screen, or smartphone screen. That idea worked well with one of the plot points of the show, the hay line between entertainment and news. I asked a concept artist I work with frequently, oanna ush, to do a rendering based on a photograph I took of an LD screen on a bus kiosk. I wanted her to create a typical morning show type ad with Steve arell, who was not o cially on yet, and ennifer Aniston, who was. The producers loved it, and I later found out they had showed it to Steve to encourage him to come aboard! C A. UBA HISTORICAL LOGO DEVELOPMENT. B. THE MORNING SHOW HISTORICAL LOGO DEVELOPMENT. C. BUS SHELTER ILLUSTRATION. D. THE MORNING SHOW STUDIO SET. SKETCHUP MODEL. E-G. THE MORNING SHOW STUDIO SET. SET PHOTOS. A B