Issue link: https://digital.copcomm.com/i/1504681
J U L Y / A U G U S T 2 0 2 3 | P E R S P E C T I V E 7 Since graduating from the prestigious Bournemouth Film School, Mark has forged a career spanning more than 25 years and earned numerous awards and nominations. Prior to moving into the role of Production Designer, Mark supervised the Art Departments of several award-winning projects and box-office hits, including serving as Supervising Art Director on Jason Bourne, Gravity, and Ready Player One and as Art Director on Bend It Like Beckham, No Time to Die, Wonder Woman, David Ayer's Fury and the Wachowski's Jupiter Descending. In addition to features, Mark has also collaborated on over 300 commercials for top brands such as Apple, Citroen, Ikea, Honda, and Kohler and on many music promos, including those for Blur, Coldplay, Sting and The Manic Street Preachers. Film projects have taken him to some amazing locations, from the mountains of New Zealand to the back streets of Mumbai and the splendor of Rome, most recently spending a year in Bucharest designing Tim Burton's acclaimed series, Wednesday, for Netflix. In addition to designing Wednesday, Mark served as Production Designer for the DC series Pennyworth (season one and two) for Bruno Heller and Danny Cannon, and The Informer for Andrea Di Stefano, as well as developing collaborations with Kornél Mundruczó and Errol Morris. He is currently finishing production on Tim Burton's latest project for Warner Bros. T H O M A S A . WA L S H is an Emmy Award- winning Production Designer whose career spans feature films, IMAX, documentaries, episodic series and Broadway. Thomas was the initiating partner in the creation of the publications Designs on Film: A Century of Hollywood Art Direction (Harper Collins) and The Art of the Hollywood Backdrop (Regan Arts). He has lectured and led charettes about Production Design nationally and internationally. He founded the ADG Archives, initiated its Backdrop Recovery Project and established the current museum exhibition of historic MGM & 20th Century Fox backdrops. Other passion pursuits include the initiating of the Michelson Cinema Research Library https:// www.savethelibrarynow.org, and Art Directors Guild Production Design Initiative for emerging designers. Thomas is a Co-chair of the Art Directors Film Society and served as President of the Art Directors Guild from 2001 to 2012. www.thomasawalsh.net J U D Y R H E E is a New York-based Production Designer with 25+ years in the industry. Recently, she designed Rian Johnson's breakout hit series Poker Face, starring Natasha Lyonne. She designed the pilot for Showtime's Let the Right One In, Love Life season one for HBOMax and collaborated with Vince Gilligan on El Camino, the film sequel to Breaking Bad. Her design work on Better Call Saul season four earned a nomination for an ADG Award in 2019. Other projects include Netflix/Marvel's Jessica Jones (season two), Amazon's Patriot (pilot & season one), created by Steven Conrad, and Alpha House created by Garry Trudeau, the Doonesbury cartoonist. Judy discovered her passion for Production Design as an undergraduate at NYU Film School. Working on numerous movies and commercials, she learned how every detail in Production Design supports the narrative and develops the characters' worlds. Judy then honed her craft and developed her aesthetic as an Art Director, working with talented Production Designers and prominent directors. She worked with Kevin Thompson (PD) on James Gray's Little Odessa, starring Tim Roth and Vanessa Redgrave, and The Yards, starring Joaquin Phoenix, Charlize Theron and Mark Wahlberg. She worked with James Chinlund (PD) on David O. Russell's Flirting with Disaster, starring Ben Stiller and Patricia Arquette, and Darren Aronofsky's Requiem for a Dream, starring Ellen Burstyn, Jared Leto, and Jennifer Connelly. She also worked with William Chang (PD) on Wong Kar-Wai's My Blueberry Nights, starring Jude Law, Rachel Weisz and Natalie Portman. Her work as the U.S. Art Director for Maria Djurkovic (PD) on Stephen Daldry's The Hours was nominated for an ADG Award in 2002. M A R K S C R U T O N was raised in Hertfordshire, England, a short walk away from what is now Warner Bros. Studios, Leavesden. His love of film started as a youngster in the '80s watching '50s sci-fi B movies. Wanting to make movies of his own, he joined Watford's Cine Society at only 10 years old, where he was by far their youngest member.