Issue link: https://digital.copcomm.com/i/1277777
S E P T E M B E R / O C T O B E R 2 0 2 0 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Molly Hughes, Production Designer of THE ONE AND ONLY IVAN – page 56 As virtual scouting becomes more commonplace as a communication tool for the director and designer, I would expect that these virtual scouts will take place in the Art Department rather than at the VFX house, so those initial planning scouts remain part of the traditional process of a director coming into the Art Department and being allowed the freedom to play with creative ideas without a large audience. Grant Major, Production Designer of MULAN, photo of Art Director Jill Cormack on "Rotten Tommy," the stone stair location – page 83 Painting and finishing set pieces like this in such a spectacular setting was a memorable experience that I hope translates to the final film. Susie Mancini, Production Designer of SPACE FORCE – page 35 I knew it was an interview for the Production Designer position but, thinking this show was out of my reach and that this was simply going to be my coolest breakfast ever, I didn't bring anything with me. Matthew Flood Ferguson, Production Designer of HOLLYWOOD—Propmaker Jager Patalano serving as the scale figure in the layout of the H sign. – page 98 Scaling out the sign (the "H") on stage was a bit tricky—the height was thirty-five feet to the perms—and the show's version ended up being built at 30-feet-tall. Mark Worthington, Production Designer of THE UMBRELLA ACADEMY – page 78 On every project I find that the script and the world it describes, characters, places, actions, emotions—all soak into my subconscious, and I think that's true of everyone involved, defining the experience of working on the show.