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 3 3 coordinate all the information required to move each production's shooting day forward, from one day to the next. In addition to his duties in the production department, he was required to be on call for the Art Department when things got busy. His duty was to cover all the needs of the Art Directors, Set Designers, and Illustrators when the head of the department was out. Over the three years he spent "part time" in the Art Department, he found he felt most at home when working with creative people dedicated to telling a story using a visual approach. After those initial three years in production, activity picked up in the Art Department. More help was needed, and Greg was invited to move full time into the department he had always wanted to be a part of. At that time, every film and television show all worked out of the same Art Department space. All the Art Directors and Illustrators were in the offices in the back of the building while all the Set Designers for every production worked together in the drafting room upfront. Greg had a unique opportunity to see at one time, a tremendous variety of work and talents, not to mention experience it right before his eyes. The only thing he had to figure out was how to take advantage of such an opportunity. So, while making coffee and running blueprints during the day, he began to teach himself to draw, after everyone else went home at night. Setting out his own coursework was challenging but he was fortunate to be surrounded by some vastly experienced people, who were more than generous with their time and knowledge. Many of those folks today are in the ADG Hall of Fame. To give readers an idea of who contributed to his education, and spent time hovering over his drawing board correcting his mistakes, here is a list of just a few names. Some might be familiar, others not. Either way, it would be remiss in not mentioning them and the debt Greg owes for their generosity and teaching: Mentor Huebner, Ed Carfagno, Ted Haworth, Roy Barnes, Preston Ames, Arnold "Buddy" Gillespie, Tony Villone, Charles Rosen, Bill Kenney, Diane Wager, Ken Adam, Richard MacDonald, Les Gobruegge, Albert Brenner, Richard McKenzie, Perry Grey, Joel Schiller and Larry Paull. It was important to them that he learn all they had to teach and not embarrass them when he finally got into the union and joined their ranks. It is these standards of design and professionalism he continues to practice to this day. C. BUILDING A FACADE AND DETAILS FOR DAWN OF THE PLANET OF THE APES. (2014) C