Issue link: https://digital.copcomm.com/i/1260764
J U L Y / A U G U S T 2 0 2 0 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Martin Childs, Production Designer of THE CROWN – page 59 The term "connective tissue" became so much part of our currency that it became impossible to say it in meetings without finger uotes. At some point it became "ct" just to keep the meetings shorter. Jeremy Reed, Production Designer of GRETEL & HANSEL, photographed on the set of Gretel's job interview – page 89 The room where he interviews Gretel was a perfect example of decaying splendour, just as his porn empire is beginning to turn to dirt, he is viewed as clinging to vestiges of his former glory. Michael Bricker, Production Designer of DARE ME – page 66 This ugly/beautiful contradiction is one of my favorite things about the Midwest—the too-bright fluorescent almart next to a decaying downtown. assive power lines cutting through the landscape. Barry Robinson, Production Designer of SNOWPIERCER, regarding the Art Department, shown here on Halloween. – page 85 The design of the scenery was fine however, I think you'll agree, it was the tight knit bond in the Art Department. e took the job seriously, but we had fun when it was neededthe singing, costumes at Halloween and Christmas, and overall the comradery in the department. Corey Kaplan, Production Designer of STUMPTOWN – page 45 The Art Department needed to understand the characters in the comic books, the elements of their character lives, build and decorate for them in an exaggerated glory that brings them to life.