Issue link: https://digital.copcomm.com/i/1449234
M A R C H / A P R I L 2 0 2 2 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE M i c h a e l D e n e r i n g , Scenic Artist of FOX STUDIO MURALS – page 85 I asked him what he thought and he turned and stretched his arms out and said in his gracious Mel Brooks tone, "Me and MY family, WE LOVE IT!" F r a n ç o i s A u d o u y, Production Designer of GHOSTBUSTERS: AFTERLIFE shown with full-size anamatronic of a Terror Dog. – page 42 I wanted to inspire a hand-crafted design and fabrication process in my approach. The project went to great lengths to shoot in Alberta, Canada, in order to capture that province's sweeping vistas, and really pushed hard to make the film in camera, with practical special eects used wherever possible. A n d y Wa l m s l e y, Production Designer of THE NICK CANNON SHOW – page 81 I personally loaded them in the shelves the first time with the help of props head Jesse, and we were both so worried, carrying them down from Nick's dressing room and standing guard over them like they were crown jewels. Nick has one pair with real diamonds, and that one pair of shoes is worth a million dollars...nuts. F l o r e n c i a M a r t i n , Production Designer of LICORICE PIZZA, working in her home studio under pandemic protocols. – page 53 Life imitated art, like Licorice Pizza; we put our heads down during a crisis and made lemonade out of lemons. J e f f S c h o e n , Production Designer of SHINING VALE – page 66 Beyond the typical detail surveys of millwork, wallpaper, stained glass, ironwork, etc., the most fortunate step we took at the close of the pilot was to have a photogrammetry scan of the entire house, inside and out, with Matterport software. Armed with an instant existing oor plan from this scan, I was able to start pushing things around.