Issue link: https://digital.copcomm.com/i/1349602
3 8 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 N E W S A D G L I F E T I M E A C H I E V E M E N T AWA R D J O H N E AV E S A D G L I F E T I M E A C H I E V E M E N T AWA R D J O H N E AV E S to your portfolio, it will be delivered to them instead of going into the trash. He went home and started again. He tried targeting specifi c people, and got some callbacks with this new strategy and even got some invites to come back and see the shops, but he still was not landing a job of any kind. His next big step was to get a portfolio into Steven Spielberg's o ce. John drove to the Universal gate and said he had a delivery for Amblin Entertainment. To his surprise, they let him in with a map of where to go. He dropped off his work to the receptionist and, fi lled with glee, headed back to Arizona to see what would happen next. After several weeks a call to Amblin gave way to an interesting conversation. The receptionist said that his portfolio was sent over to the Art Department to be reviewed. She patched him through to one of his heroes, Ed Verroux. In a quick conversation, Verroux told him his work was all over the place and the presentation was awful. His fi nal words were, "If you want to work in Hollywood, especially for Mister Spielberg, you will have to do MUCH better than this." A. AMMUNTION HUT CONCEPT FOR TROPIC THUNDER. B. FUELING DEPOT SKETCH FOR GHOSTS OF MARS. C. TREEHOUSE ENTRANCE FOR JOURNEY 2: THE MYSTERIOUS ISLAND. D. THE POOL ROOM FROM THE GREEN HORNET. ILLUSTRATION. C C D A B