Issue link: https://digital.copcomm.com/i/1480624
S E P T E M B E R / O C T O B E R 2 0 2 2 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE M o l l y H u g h e s , Production Designer of THIRTEEN LIVES – page 68 Both Art Director Brandt Gordon and I became scuba certified while making the film, which helped our perspective toward the whole process. J e r e m y H i n d l e , Production Designer of SEVERANCE – page 59 The possibilities and the world of Severance are endless. I thought about how the creators of this space were inventing these severed employee characters, and Lumon could make the employees do whatever they want. Dan's writing was the license to do that, and Ben gave me the license to do it as a designer. A m y L e e W h e e l e r, Production Designer of the GORDITA CHRONICLES – page 39 I mean, really… finding crew anywhere in the world at that moment was tricky. Productions were popping up hourly with competitive wages that made enticing people, even to the Caribbean, a challenge. R u t h D e J o n g , Production Designer of NOPE, Director Jordan Peele reviewing a model of the Gordy! set. – page 22 As the design team got into drawing up the buildings, we simultaneously created a quarter-inch model of the entire town and stadium, led by Model Maker Adam Gelbart. This gave us a visual for creative meetings with Jordan and Hoyte, as well as helped flesh out the costs with construction. J e f f e r s o n S a g e , Production Designer of MINX – page 30 Several practical problems presented themselves during the initial design of the set for Bottom Dollar Productions. As mentioned, the stage size was a challenge. Besides the issue regarding available space (not enough and too short!), the existing rigging system was an ad hoc collection of mismatched pipes and set points of dubious provenance—a distinctly unhealthy menu of rigging choices.