Issue link: https://digital.copcomm.com/i/1504681
G E O R G E & T A M M Y | P E R S P E C T I V E 7 5 Getting It Done: The creative team was in agreement—the design in their personal lives would serve as metaphor for character progression as opposed to a recreation of known images and events. But there was still an enormous amount of research to be done to tell the public side of this story that spanned forty years and had dozens of musical numbers. We weren't just doing private spaces that we could decide to interpret, we were also doing sets like the Grand Old Opry and many musical performances that would have to be recreated. Like any Art Department, there were boards and boards of photos on the walls —filling every office and spilling out into every hallway. Art Director Amanda Knehans was hugely valuable in guiding this meticulous research, as she was with every part of this process. I always think Art Departments are lucky to work in perhaps one of the last visually analog workspaces left in the world. But not all the research was visual. Georgette Jones, Tammy's daughter, was an enormous help—she would talk to the team at length about whatever we asked—where her mom liked to ride in the tour bus, what it felt like to be backstage at the different shows, how her mom was a star and still made dinner every night. These are many of the things that we keyed off to inform the design process— real human moments and the juxtaposition with that of celebrity. E F G