ADG Perspective

January-February 2023

Issue link: https://digital.copcomm.com/i/1490572

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J A N U A R Y / F E B R U A R Y 2 0 2 3 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE H a n n a h B e a c h l e r, Production Designer of BLACK PANTHER: WAKANDA FOREVER – page 59 Most important to the principal design in Wakanda is Afrofuturism, a movement that, through elements of Black history and culture, speaks to an autonomy and agency, in art, music, literature, etc. It speaks to time being cyclical, what once was is evolved through a new lens of futurism and science fiction. D a n B u t t s , Production Designer of WEIRD, shown with Al Yankovic and the head of Daniel Radcliffe – page 86 When questioned by my director about my outburst, I had to admit that, "I hadn't imagined my morning starting by sitting on Al Yankovic's bed watching boy band videos with him." E u g e n i o C a b a l l e r o , Production Designer of BARDO, dressing sand in Silverio's bedroom – page 112 The apartment was also prepared to contain water and piles of sand. The crew took the entrance hall, the living room, the corridor and the dining room of the apartment, including all the set dressing, to the desert in Baja California, three thousand miles away from the studio in which it was originally built. J e r e m y Wo o l s e y, Supervising Art Director of DEVOTION – page 65 The final test was bringing it out to the location to do a light study with the DP. The dream solution suddenly became a nightmare as the printed graphic disappeared at certain angles during the day. R i c k C a r t e r, Production Designer of THE FABELMANS – page 43 There wasn't a large budget, but it's not actually a small movie. The Art Department felt that we were designing an epic story, but it was an "interior epic." With many intimate settings to explore.

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