Issue link: https://digital.copcomm.com/i/1531774
3 6 P E R S P E C T I V E | J A N U A R Y / F E B R U A R Y 2 0 2 5 It broke my heart—but it was the fall of 2021 and I was already deep into shooting Indiana Jones and the Dial of Destiny and Asteroid City, with Wes Anderson's Dahl stories coming next and just around the corner. It simply wasn't going to be possible. Luckily, Blitz pushed back its schedule. Adam Somner was in the room with Steve at just the right minute and realized that the schedule might allow me to be part of the project after all, and he gave me a call. We started later that day! I started sketching with Alexios Chrysikos, Steve Tappin and Katren Wood—long-standing and dear collaborators, as well as Charlie Cobb and Qingling Zhang—new members of the team. In our very first conversation, Steve made it clear that he wanted Blitz to be a British epic. He wanted it filmed all in real locations and sets as if we were still in 1940 London—filming as these events occurred. He wanted to avoid green screens as much as possible, believing strongly that the real environment surrounding actors fundamentally changes their performance. He thought telling this story required set pieces on an epic scale. B l i t z A B R I T I S H WA R T I M E E P I C B Y A D A M S T O C K H A U S E N , P R O D U C T I O N D E S I G N E R When Steve first called me to make Blitz, I had to say no. A