Issue link: https://digital.copcomm.com/i/1514626
1 2 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 4 N E W S From a Chicken 'House' to The White House: A Journey Through the Production Design Initiative B Y C L A U D I A E T H R I D G E , S E N I O R S E T D E S I G N E R , A N D A . T O D D H O L L A N D , S U P E R V I S I N G A R T D I R E C T O R Claudia: From humble beginnings as an aspiring creative with a passion for visual storytelling, my career took a transformative turn when I was accepted into the ADG's Production Design Initiative (PDI). I found myself on an exciting path, evolving from an eager Art Department Assistant to a Senior Set Designer. As I reflect upon this journey, I am filled with a deep sense of appreciation for the invaluable contributions of mentors, colleagues and the opportunities that paved the way for my success. A few months after being accepted into the PDI program, I received an email with the subject line "A3_Art PA Position" from a name I didn't recognize. I hurriedly opened it. An Art Director was requesting an interview for an Art Department Assistant position. Imagine the wave of excitement and nervousness running through me as I responded, "Horror films are right up my alley…" Little did I know that this ordinary email exchange would blossom into a mentorship, for which I am immeasurably grateful. It was undeniably the pivotal point that launched my career onto a path of unparalleled growth and fulfillment. A. Todd: I believe hiring a good Art PA is a core ingredient to building a strong Art Department. They are the grease in the gears, so to speak. However, finding such a person is often an arduous quest and doesn't often get the same focus as other positions. Someone organized and reliable went without saying, but the real trick was finding someone actually interested in the Art Department. And if they already had usable skills, well, that is the proverbial pot of gold. Which is why I was intrigued by the email I got from the ADG in January of 2018, promoting the PDI program. A quick note to the invaluable Laura Kamogawa and I got the best response—"Do I ever have a list for you!" she promised. Suddenly, I was flush with resumes of potential candidates, each well suited for the rigors and demands of a modern Art Department. I fired off ten identical emails. About half the candidates were available and one in particular was very enthusiastic, attaching a portfolio displaying a range of skills: Photoshop, drafting, model building (digital and foam core), etc. Impressive! A. CLAUDIA ETHRIDGE IN HER FIRST PDI POSTION AS A PRODUCTION ASSISTANT ON THE SET OF ANNABELLE COMES HOME. A