Issue link: https://digital.copcomm.com/i/1485934
N O V E M B E R / D E C E M B E R 2 0 2 2 | P E R S P E C T I V E 3 WHO'S TALKING IN THIS ISSUE J e s s G o n c h o r, Production Designer of WHITE NOISE – page 73 So when I got a call from Noah Baumbach about a 1980s film set in a small college town and during an isolation lockdown, I jumped at the opportunity. I had personally lived through both of these scenarios! G r e g B e r r y, Production Designer of DAY SHIFT – page 93 So wink and a nod…for those who know me, painted in the style of John Singer Sargent, you might notice a familiar-looking vampire hunter looming over Ralph Seeger's desk. J e f f M o s s a , Production Designer of THE BOYS. The art crew gathered at the hero set from the first episode or the season – page 119 I'm not sure anyone can actually take credit for designing this set, but we certainly had many discussions and meetings that in other circumstances, might earn a call from the human resources department. K a t i e B y r o n , Production Designer of DON'T WORRY DARLING – page 64 Four months of isolation and production shutdown allowed below-the-line filmmakers and craftspeople to reflect on how much we give our industry and what we receive in return. I thought about this in my own sphere as a designer, but more importantly about the crew I work with. R i c k H e i n r i c h s , Production Designer of GLASS ONION – page 58 To my mind, the Glass Onion itself was the most transparent of all metaphors, intended by Rian to propose a corollary to the "Locked Room" quandary of many mystery stories: How can anything be hidden in plain sight?