Issue link: https://digital.copcomm.com/i/1514626
J A N U A R Y / F E B R U A R Y 2 0 2 4 | P E R S P E C T I V E 1 5 Claudia: After ultimately being chosen for the job on the feature Annabelle Comes Home (2019), to say I was excited would be an understatement. I was beyond thrilled to be given the opportunity to learn from seasoned Art Director A. Todd Holland, and to be working on one of my favorite film franchises of all time. Horror films were about to become MY alley! With anticipation, I packed my kit and prepared myself for my first-ever job in the industry, not completely sure what to expect, but excited, nonetheless. The months that followed became, in my opinion, critical to my early career growth, for which I am forever grateful. A. Todd: A small Art Department often allows an opportunity—sometimes a bona fide need—for each team member to stretch beyond their typical duties. Claudia embraced this atmosphere with nervous enthusiasm—initially terrified to blunder, but ultimately thrilled when she successfully delivered. Claudia: In addition to the usual day-to-day tasks of an Art PA, I was given extra learning exercises over the course of the show. Whether it was accompanying Set Designer Al Hobbs on location surveys, or honing my drafting skills by doing an 'as built' set of drawings, I found myself constantly challenged. Throughout, I quickly began to foster a deep appreciation and interest in Set Design. A. Todd: When members of my team find themselves 'swimming in the deep end,' I always remind them, "I'm lifeguarding. I won't let you drown." By giving crew members the freedom to take on new challenges, I honor those who gave me the same opportunities early in my career. In an effort to stimulate Claudia's interest in set design, I shared with her a set of drawings by the brilliant ADG Set Designer Sarah Forrest, who has graciously allowed me to use her work to teach others. Sarah has an amazing drafting style: informative without over-drawing, highly accurate, and downright beautiful in her choice of layout, font and shading. "This," I explained to Claudia, "is your goal." She didn't blink. On the Conjuring 2, we rebuilt the famed artifact room on stage (originally a location set in North Carolina) and then again later for reshoots. Both times using a messy packet of location surveys with scattered built-ins, photographs and quick sketches for the sequel's stage version. The drawings were both incomplete and overlapping at the same time—by all accounts, confusing. Thus, when it came time to build the artifact room for a third time on Annabelle Comes Home, I tasked Claudia with sorting through all the previous drawings, etc., and coming up with a single, complete set that could easily be followed. This would become her special project during the film, to be completed by the time we wrapped production. A. ANNOUNCEMENT FOR PLACING PDI PARTICIPANTS FROM AN ADG NEWSLETTER. B. THE ENTRANCE TO THE ARTIFACT ROOM IN ANNABELLE COMES HOME. A B