Issue link: https://digital.copcomm.com/i/1526889
that imagined these two paintings as "works in progress" and brought life to a digital print of Picasso's 1910 The Guitarist, also created Dickie's vast portfolio of truly hilarious paintings.) The reality is that no project, large or small, is without its challenges. But at completion, all the sets the Art Department realized made me proud of what we achieved. I tried my very best to have a clear visual through line, tying together all eight episodes, seeing the world through Tom's eyes, while always trying to be authentically Italian. All the sets and locations seen in the series are the product of a wonderful collaboration with a very gifted Italian location team, Art Department, construction and paint crews, and the extremely talented and tireless set decorator, Alessandra Querzola. I work with my wife, Supervising Art Director Karen Schulz Gropman, and we were lucky to have back our team from Catch-22. Alex Santucci once again joined Karen as Co-supervising Art Director, assembling our same Art Department from before, plus a few more talented souls to handle the scale of the production. When Steve first sent me his scripts in the fall of 2019, I never stopped reading until I devoured all eight of them. It's a cliche, but I couldn't put them down. Afterward as I started putting my notes together before calling Steve back, the enormity of the project started to sink in. But the magic was, there wasn't a single set, location or moment in the eight episodes that I couldn't wait to realize. In six months of preproduction and one hundred sixty-seven days of shooting, that magic never left. ADG D. INTERIOR CARAVAGGIO'S ATELIER, ROME. CONCEPT ILLUSTRATION BY FRANCESCO SERENI. E. INTERIOR CARAVAGGIO'S ATELIER, ROME. CREATED AT VILLA ALDOBRANDINI, FRASCATI. SET PHOTO. F. CAPELLA DI S. MATTEO, SAN LUIGI DEI FRANCESI, ROME. FILMED AT SANTA MARIA LA NOVA, NAPLES. PRODUCTION STILL. D F E