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 7 As a more immediate challenge, after researching chicken coops for the decorator, I suggested she draw up a typical coop as drafting practice. I mean, why not? It's a complete house, just smaller. Plans, elevations, details. This exercise became a stroke of luck as the rental coop became unavailable at the last minute. With little time to maneuver, her homework became the inspiration for a hastily built replacement for the lost rental. Claudia: I can clearly remember the profound feeling of pride I felt when I received a text that simply said, "Your first house!" along with a photo of the newly constructed chicken coop. Every time I released a drawing as an Art PA, I used it as an opportunity to learn. I studied the line work and how the information was presented. During my free time, I continued to practice my drafting, peppering Al, A. Todd, and construction with any and every question that came to mind. On our next project, additional photography for Top Gun: Maverick, I was given new challenges and learning opportunities. I was invited to listen in on important conversations, expanding my knowledge and absorbing everything the incredibly talented and passionate artists around me offered. A. Todd: As luck would have it, Claudia grew up in San Diego and her parents still live in the outskirts of the city. Thus, production allowed me to hire Claudia for both the Los Angeles and San Diego portions of photography. Our strong collaboration continued. Essentially a department of three (along with Production Designer Jeremy Hindle), Claudia was relied on even more and she rose to the occasion with both poise and panache. Everyone relied on her, from construction to set decoration to production—even the director asked her to stand in to help block a scene while we were prepping in San Diego! At this point, the tasks she was most suited for exceeded the duties of an Art PA (and the wage that comes with it). It was time to petition the ADG to invite her to join. Claudia: Once I was able to join the Guild as an Assistant Art Director, I could fully submerse myself in my chosen career path. I had the opportunity to broaden my knowledge and perspective under other experienced and skilled creatives, including Lauren Polizzi and Dawn Brown Manser. Being able to observe their workflows and see how they communicate with other departments was another valuable chance for me to learn. Later, the pandemic gave me plenty of time to think about the direction I wanted my career to go. With the firm intention to become double carded, I added my name to the Set Designer "Potentials List." A few months later, I was contacted for my work samples and an interview. My practice set of the artifact room came in handy…I was hired! A. THE CHICKEN COOP FROM ANNABELLE COMES HOME. B. CLAUDIA ON THE SET OF TOP GUN: MAVERICK. A B