Issue link: https://digital.copcomm.com/i/1438629
4 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 2 2 WHO'S TALKING IN THIS ISSUE G u y H e n d r i x D y a s , Production Designer of SPENCER – page 78 e neer designed a film where e been asked to put so much detail into the food, it was ery eciting, and it inoled a lot of food science eperiments during preproduction. A d a m S t o c k h a u s e n , Production Designer of WEST SIDE STORY Illustration of the pier set for "Cool" – page 68 had isions of twisted ankles in potholes. couldnt hae been more wrong ar from delicate, ustin and the dancers actually seemed to seek out the most dicult terrainincorporating it into the dance. They scrambled up the mountain of rubble in the demolition yardstrewn with real loose bricksand aulted an old pickup onto the ool pier. t was ust amaing to watch. W i l l i a m A r n o l d , Production Designer of KING RICHARD – page 114 esigning a moie is most times a marathon. y eperience in designing King Richard was more of a relay race. C a r a B r o w e r, Production Designer of CANDYMAN – page 134 hen landed in hicago, really felt like had two obs. The day ob was scouting locations and the afterhours and weekend ob was scouting for the artist. A l e x a n d r a S c h a l l e r, Production Designer of Y: THE LAST MAN – page 100 n the early design stages, we talked a lot about how we could incorporate an eploration of the female gae into the show. e decided that for us, the female gae was about subectiity, point of iew and detail. ou see the roots of hair, imperfections in the skin, sweat, dirt under fingernails, eery scene is uite detailed and shot from someones point of iew.