Issue link: https://digital.copcomm.com/i/1517535
5 0 P E R S P E C T I V E | M A R C H / A P R I L 2 0 2 4 In discussing my work on the Amazon Prime series Reacher, I want to focus on a key design element, the infamous helicopter in season two. A set piece written as a unique character in its own right, and a symbolic focal point for the second season. No set better exemplifies the collaborative nature of film production. Every department played a vital role in bringing the helicopter to life. I remember our first Zoom meeting about the helicopter, one of many to come. So many faces in the grid: the showrunner, studio executives, the producing director, and department heads from SPFX, VFX, set decoration, construction, scenic, picture vehicles and stunts. We all had the scripts, and we knew this helicopter was going to be a creative, engineering, and logistical challenge. Sorry, not a challenge...an opportunity! The first step was to pick a model of helicopter that was big enough to accommodate two full- size gurneys and a fight scene, but not so big as to R e a c h e r S e a s o n T w o T H E H E L I C O P T E R B Y N A Z G O L " N A Z " G O S H TA S B P O U R , P R O D U C T I O N D E S I G N E R A