Issue link: https://digital.copcomm.com/i/1517535
5 6 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 It seems long ago, but in the era of COVID-19, the birth of Golda commenced with a transcontinental Zoom meeting between the director, Guy Nattiv, stationed in Los Angeles, and me, orchestrating the Production Design from the picturesque landscape of Wales. Our subject: Golda Meir and the enigmatic canvas of the Yom Kippur War. This virtual tête-à-tête set the stage for an artistic collaboration that would span across continents. Two weeks after the initial Zoom meeting, we found ourselves in the heart of London, where the vision began to take shape. Guy's ambition extended beyond a mere and grim historical documentation of a war; he sought a visual and cinematic narrative that would transcend the confines of the screen, focusing on the internal processes of the characters. Together, we navigated the labyrinth of possibilities to encapsulate both Golda's inner world and the real-world conflict within the constraints of the production, while dealing with the restriction of locations and a shrinking budget. The film design of Golda, much like its central figure and her tumultuous world, refrains from ostentation. Golda Meir, Israel's Prime Minister during the nation's formative twenty-five years, dedicated the majority of her life to the relentless struggle for its survival. In the exploration of C a p t u r i n g a P h y s i c a l a n d E m o t i o n a l J o u r n e y G O L D A B Y A R A D S AWAT, P R O D U C T I O N D E S I G N E R A. WAR ROOM. SET PHOTO BY JAKE KUHN. A