Issue link: https://digital.copcomm.com/i/1524788
6 8 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 4 "Are you afraid of color?" he asked, staring at me from across the table. Admittedly, the portfolio that he just perused had predominately showcased my science fiction work which utilized restricted color palettes. Director and executive producer Tate Taylor continued to stare at me, blinking while trying to find the right words: "Because this is a show about color—lots of color. I want static wide frames soaking in beautiful people in beautiful places doing beautiful things. This project is Palm Beach 1969—an homage to CinemaScope and Slim Aarons Photography. Is that something you are comfortable with? Color?" I couldn't argue with him—historically, I've designed with more muted palettes. At the same time, I've always gravitated toward projects that challenge me: sometimes with the intensity of scale, sometimes with the surrealism of subject matter—and now, sometimes with the use of color…lots of color. While I've had the privilege of working on numerous period pieces of the same late mid- century era under my mentor Dan Bishop (Mad Men, For All Mankind), this project felt different to me. Set in the exuberance and eccentricity of 1969 Palm Beach, outsider Maxine Dellacorte Simmons (Kristen Wiig) schemes to "cross the line between the haves and have-nots to secure her seat at America's most exclusive, fashionable and treacherous table: Palm Beach high society." P a l m R o y a l e U S I N G C O L O R C O L L A B O R A T I V E L Y B Y J O N C A R L O S , P R O D U C T I O N D E S I G N E R A