Issue link: https://digital.copcomm.com/i/1490572
1 1 8 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 3 M I L E S T O N E S Albert Brenner 1926-2022 B Y D A V I D M O R O N G , E D I T O R A A. ALBERT BRENNER. B. THE SPACESHIP COSMONAUT ALEXEI LEONOV APPROACHING THE USSC DISCOVERY ONE. FROM THE FILM 2010: THE YEAR WE MAKE CONTACT. PRODUCTION STILL. Albert Brenner, the highly accomplished Production Designer who was recognized with an ADG Lifetime Achievement Award in 2003, has passed away at the age of 96. Born in New York City and a graduate of the Yale School of Drama, Brenner moved to Los Angeles in the 1960s and found work as an Art Director on films such as The Hustler, The Pawnbroker, Fail Safe, Bullitt, and on some early TV series, including Car 54, Where Are You? As he moved into the 1970s, he began working as a Production Designer, accumulating over 40 credits and demonstrating his abililty to design in virtually all genres. Brenner received Academy Award nominations five times over his long career, for The Sunshine Boys (1975), The Turning Point (1977), California Suite (1978), 2010: The Year We Make Contact (1984) and Beaches (1989). He worked with some of the most prominent directors of the time, many of them mulitple times. He designed eight films by Garry Marshall, including Frankie & Johnny, Princess Diaries II, Pretty Woman and Beaches. He designed five films with Herbert Ross: The Sunshine Boys, The Goodbye Girl, California Suite, I Ought to be in Pictures and The Turning Point. He also designed four features for Peter Hyams, including Capricorn One, Peeper, The Presidio and Running Scared. Other directors he collaborated with were Sidney Lumet (Fail Safe and The Morning After), Mel Brooks (Silent Movie), Michael Crichton (Coma), Billy Crystal (Mr. Saturday Night) and Ron Howard (Backdraft). B