Issue link: https://digital.copcomm.com/i/1196709
M A R C H / A P R I L 2 0 2 0 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Stefania Cella, Production Designer of LUCY IN THE SKY – page 61 Lucy begins the film in space, an emotional point of view of space, not the technical aspect—the feeling of impermanence and the scale that dwarfs her. Sharon Seymour, Production Designer of JUST MERCY, with team members at the Friday Art Department social – page 83 As an Art Department team, that's what the people I surround myself with do—we think through problems and choices before it's an issue on a shooting day. We enrich the story with our work. An Art Department of the level and talents that I had on Just Mercy makes the work such a pleasure. Eve McCarney, Production Designer of LIZA ON DEMAND – page 88 I spent my first week trying to track down where the set was stored. To my dismay, I discovered the set had been placed outside without any tarping or coverage during the heavy rains that plagued LA last winter. The set was destroyed, but the hardware, vanity and shower door were salvaged. Since it had to be rebuilt, I took it as an opportunity to enhance and better the set. Mark Tildesley, Production Designer of THE TWO POPES – page 103 The production committed to scenically painting our own version, matching the brightness and saturation of the refurbished chapel. We painted our sections at one-third scale to complete the project in the time available, photographed these and then used the 'tattoo' technique at full scale. For this we called upon some of Italy's finest scenic painters!! Charles Wood, Production Designer of AVENGERS: ENDGAME – page 51 The expectations from the directors, the studio and the audience were extremely high. These films had been in the planning phase for many years. It was always going to be a monumental task from a design point of view and a daunting logistical challenge, particularly as the two films needed to be worked out pretty much at the same time.