Issue link: https://digital.copcomm.com/i/1531774
2020 was a devastating year. 2024, somehow equally so. Shortly after wrapping work on this film, I watched the reports of the insurrection on January 6th happening live. It was time to return to Los Angeles, the only city that ever felt like home. Though we are steps from the beach and reunited with our Los Angeles friends, there are some days I wish I could go back in time. It seems like jobs such as these are becoming harder and harder to find. Generative AI has been baked into Photoshop and Illustrator. The hours that I spent Photoshopping and digitally painting photos could now be done in less than half of the time. The hours that I earned towards my health insurance and pension would be significantly less. There seems to be less room for political compromise and discourse. The industry has changed. My role on set has changed. I learned on this job that everyone has an opinion about Ronald Reagan. If you loved him, or despised him, most can agree—he was an influential leader that led with grace, charisma and faith in the greater good. I am choosing to have faith that things will improve. In the end, even though the finished film has a segment on Reagan's lack of response to AIDS, Reagan is neither propaganda nor provocative. It tells the story of a man's life who regularly crossed party lines for the sake of camaraderie and ideals. ADG J Chris Rose, Production Designer Casey Crowdis, Dawn R. Ferr y, Super vising Art Directors Melissa Woods, Assistant Art Director Ella Frame, Graphic Artist Amy Teague, Set Decorator J H. PLEXI SOVIET MAP IN REHEARSAL ON SET MONITOR. I. SOVIET MAP GRAPHIC. J. VICTOR'S APARTMENT WITH PRACTICAL SLIDE PROJECTION. SET PHOTO. K. NANCY REAGAN SLIDE. ORIGINAL IMAGE AND RECREATION. H I K