Issue link: https://digital.copcomm.com/i/1241865
M A Y / J U N E 2 0 2 0 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE KK Barrett, Production Designer of BIRDS OF PREY – page 43 Every film is hard work but the first few weeks are always the most difficult. What exactly are we going to do and how can it be different? What are the rules? More importantly, what are the rules to be broken? Bruton Jones, Production Designer of AMERICAN SOUL – page 58 In a 2013 book titled Soul Train: The Music, Dance, and Style of a Generation, Questlove hails the show, which aired from 1971 to 2006, as "not only a transformative cultural moment" but "a sibling, a parent, a babysitter, a friend, a textbook, a newscast, a business school and a church"—"the master of teaching you lessons that you didn't know you were being taught." Barbara Hall, ADG Archivist – page 72 The heart of the ADG library is its book collection, which has been built primarily from member donations. The shelves are filled with more than sixty-five hundred books on art, architecture, design, decorating, culture, travel and history, and range from the late 1800s to the present. Simon Bowles, Production Designer of AVENUE 5, shown in the prayer room set under construction. – page 65 I used these 13th century monastic structures as inspiration for the Avenue 5 prayer room, stripping back the details of the Gothic architecture to bare sinews, then creating them from white synthetic materials. Rory Cheyne, Production Designer of LOCKE & KEY – page 82 Every storyline in the series radiates from Keyhouse in some way, so creating and placing the intricate details was critical and also a lot of fun.