Issue link: https://digital.copcomm.com/i/1485934
D O N ' T W O R R Y D A R L I N G | P E R S P E C T I V E 6 5 PUTS VICTORY ON THE MAP Art Department. Ours was a very special group that truly supported each other. For this reason, I've invited some of the crew to share firsthand experiences on the film. The Design of Victory For this specific team, design began with the philosophy behind the film. Olivia asked the question, "How can humanity be bold and courageous enough to leave a toxic system behind?" We talked about capitalism, colonialism, the patriarchy and how they may be very difficult ontological systems and beliefs to dissolve. With this philosophical question, we knew an alluring world-build was crucial. It needed to be as lush, seductive, kaleidoscopic and as dazzling as possible. With depictions of the 1950s, one often sees what was sold to them in television or advertisements from the era. But in the same way modern commercials are not a good indication of what life is like now, '50s advertising showed only a slice of what life was like then. I was interested in the revolutionary and cutting-edge designs of Albert Frey, Schindler, Neutra, Alexander Girard, and Ray and Charles Eames. Idyllic exteriors mixed with dark and dreamy interiors. Smoked glass and mirrors. Bars fully stocked; record cabinets outfitted with the best-sounding speakers. A. ALICE AND JACK'S HOUSE. VIEW FROM THE COURTYARD. BUILT SET AT LA NORTH STUDIOS. SET PHOTO. B. CALIFORNIA MAP. GRAPHIC LAYOUT BY ALEX MAZIEKIEN. POSTER FEATURED IN FRANK'S POOL HOUSE. B