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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 1 C O N T R I B U T O R S A A R O N H A Y E grew up in the woods and on the beaches of the Mendocino Coast in Northern California. After graduating with a degree in marine biology from University of California Santa Cruz in 1995, Aaron got a job as an assistant in the model shop at Industrial Light & Magic. There, he cut his teeth as a visual effects model builder on films like Starship Troopers, Star Wars: The Phantom Menace and AI: Artificial Intelligence, before moving to Los Angeles and transitioning to the Art Department in 2002. For the next several years, Aaron worked as a Digital Set Designer, finding a niche for himself in the emerging area of 3D design and world building. Then, after joining the ADG in 2006, he navigated his way from Assistant Art Director to Supervising Art Director while working on films such as The Curious Case of Benjamin Button, Star Trek, Dawn of the Planet of the Apes, Man of Steel and 42. He was nominated for an ADG Award in 2019 for Bohemian Rhapsody, his first feature credit as Production Designer. After twenty-five years in the business and more than forty feature film credits, The Stand marks Aaron's first foray into so-called long form media. A D A M R O W E Like many, Adam's fascination with entertainment started young. His most inuential moment was a trip to Chicago to see Les Miserables. After beginning college with the intention of getting an engineering degree, he graduated with an MFA in theater. He started out as a Scenic Artist, racing from Seaside Music Theater and La Jolla Playhouse to the Santa Fe Opera and Denver Center. Then Tim Crowshaw and Shanna Starzyk introduced him to Dan Bishop and the world of Mad Men. A theater friend and colleague, Matt Steinbrenner, introduced him to Alana Billinglsy and Kristen Merlino. Through them, he worked on live events and award shows and was introduced to Brian Stonestreet. One of his favorite proects was working alongside him for a light parade spectacular at Universal Studios Japan. Many inuential designers and educators are in his mind when he makes decisions. Outside of entertainment, he dedicates his time tending to a piece of land near the Devil's Punchbowl. It offers a connection to nature. Something he misses after growing up among the timber and cornfields of Illinois. S T E V E S A K L A D ' S proudest design job was the movie musical reboot of The Muppets back in 2011, and ever since, he has been searching for more projects that match the magic of an old- time Broadway musical. His training with Ming Cho Lee at Yale Drama School explains part of the calling; assisting some of Broadway's greatest set designers like Tony Walton and David Mitchell sealed the deal. On the way he has designed five features for Jason Reitman (Juno fit the bill perfectly; Up in the Air, perhaps less so). For Sam Raimi, Steve designed Drag Me to Hell, a classic Grand Gignol melodrama. For Lee Daniels, he created the world of Empire, a true hip- hop musical drama, and Star, a series about an up- and- coming musical trio. His latest feature is another dive into musical comedy bliss, Barb and Star Go to Vista Del Mar. It's got a Busby Berkeley opening number, tearful torch songs, extravaganzas galore, and an elaborate finale on the beach that Frankie and Annette would have loved. His agents will attest to his commitment to seek out more shows that find that musical-theater sweet spot. So what's next on the horizon On February , 01, he began shooting another unlikely Disney reboot, the totally song-free Rescue Rangers. His pitch to the director The whole show is a perfect Hollywood musical!