Issue link: https://digital.copcomm.com/i/1433736
2 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 1 WHO'S TALKING IN THIS ISSUE A l e x D i G e r l a n d o , Production Designer of tick, tick…BOOM! – page 34 ...as well as for Andrew Garfield, who would be playing Jon. He expressed an aura of somber reverence the first time he entered the set and got to see what Jon was surrounded by day in and day out as he toiled away on his great American musical. K a t h r i n E d e r, Production Designer of BLACK MAFIA FAMILY (right) going over family photos with Mrs. Flenory at her home in Detroit. – page 42 Their mother and sister opened their home to the production. We sat at their dinner table, said a prayer and broke bread together. They graciously and generously shared hours of stories and many photos, all details that essentially were the building blocks of the hero sets and defined the design of every personal space. L a u r a F o x , Production Designer of THE EYES OF TAMMY FAYE – page 63 I wanted to convey the adulation of the huge audiences which for a long time until scandals hit, hid the reality of their lives, the decadence, the greed and the separation and suspicions that had crept into their marriage. B o We l c h , Production Designer of SCHMIGADOON! – page 70 I should point out that I actually watched all episodes as they 'dropped' on Fridays and really became a fan, and not necessarily because of the design, but because of the musical dance numbers. They consistently blew my mind with how real and live and energetically they were performed. M a r t i n W h i s t , Production Designer of THE HARDER THEY FALL – page 88 I had a bit of an epiphany that I wasn't sure how Jeymes would respond to. I figured since Mayesville is the only white town in the film, why don't I just make it all white. And I meant ALL white. The buildings, the carriages, the ground, the horses, and obviously the people.