ADG Perspective

September-October 2021

Issue link: https://digital.copcomm.com/i/1413503

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S E P T E M B E R / O C T O B E R 2 0 2 1 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE E v e M c C a r n e y, Production Designer of AMERICAN HORROR STORIES – page 29 Every episode would take on a life of its own, with a unique palette or style driven by the script. I worked very closely with the directors of photography, costume design, set decoration and prop departments. There are many crossovers with other parts of the Ryan Murphy universe, and everything must gel and be cohesive throughout—style, palette, tone and design. E t h a n To b m a n , Production Designer of FREE GUY Tobman (center) on the set of Badass' stash house. – page 13 The greatest liberty in designing a wish-fulfillment video game is the geography and architecture can be deliberately illogical. The stash houses are dimensionally transcendent—impossibly small from the outside, impossibly vast from within. J o n C a r l o s , Production Designer of HACKS – page 27 Throughout the season, I started to explore cross-contamination of their color palettes with one another. In the sixth episode, when their relationship hits a positive milestone, their palettes intermingled as seen with the hotel suite finishes. The wallpapers and curtain fabrics selected incorporated a combination of teal-like blues and soft pinks used in harmonious balance. B e t h M i c k l e , Production Designer of DEAR EVAN HANSEN Ben Platt in a production still from the film. – page 37 Somewhere between the beginning and the end of that week, the NBA announced it was suspending its season, Tom Hanks revealed unsettling news via Twitter—and by Friday, the world as we knew it, had turned entirely upside down.

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