Issue link: https://digital.copcomm.com/i/1438629
6 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 R o r y C h e y n e , Production Designer of FOUNDATION – page 82 n this type of proect, the relationship between roduction esign and is crucial. e discussed early on at great length how to integrate the practical and the irtual. I n b a l We i n b e r g , Production Designer of THE LOST DAUGHTER in the Art Department offices on the isle of Spetses in Greece. – page 120 designed a few patterns of smallprint wallpaper in sage and brown to eoke the stuffy, rich ambience of longestablished ondon spaces, in clear contrast to the sunfilled light palette of the reek island scenes. A r t h u r M a x , Production Designer of HOUSE OF GUCCI – page 90 d also become fully immersed in things talian. personally had an tala bicycle, a oe olumbo lamp, a agistretti chair, a black rmani suit and a girlfriend named liabetta. R e n é e H o s s - J o h n s o n , Production Designer of WHEEL OF FORTUNE, with the Wheel Art Department. – page 123 fter twentyone years of working together, whether we are shooting prie cars, capturing opening seuences on location, planning a remote to a enue in another state or creating new sets for Stage in uler ity, we still get ecited about the net proect or adenture. To m M e y e r, Production Designer of FINCH – page 147 Tucked in the corner of the state is Shiprock, utting powerfully up to the heaens. n our design reiew with the producers, Steen Spielberg turned to me with a smile, saying Shiprock was first considered for the landing site in Close Encounters.