Issue link: https://digital.copcomm.com/i/1535796
T H E S T U D I O | P E R S P E C T I V E 7 3 made everything modular. Kay Kropp, lead painter, created stunning acrylic panels that mimicked alabaster, allowing us to pre-light the set for a seamless shoot. Claire's impeccable taste shaped the moody, elegant, timeless color palette. The construction team worked miracles, loading in and out at lightning speed. The result? Some people thought we had filmed the real Golden Globes. A Love Letter to Hollywood The Studio became more than just a show about Hollywood—it was a celebration of craft, of the people and places that make this industry feel like magic. This world came to life thanks to the dedication, speed and heart of the entire Art Department. Designing studio number six and recreating L.A.'s iconic moments was a blast; every frame of the series was infused with history, humor and a deep love for filmmaking. I didn't grow up knowing this job existed. But the moment I discovered Production Design, it felt like I had been searching for it my whole life without knowing its name. It's a perfect collision of storytelling, architecture, psychology, history and emotion. You get to build entire worlds from scratch— and then step into them. Every detail becomes a line of dialogue. Every material is a piece of memory. I can't imagine doing anything else. I'm grateful every day that I get to do this work—for how it challenges me, humbles me and reminds me that filmmaking is one long, collaborative act of imagination. ADG C D E Julie Berghoff, Production Designer Brian Grego, Art Director Henr y Arce, Ryan Grossheim, Assistant Art Directors Mike Stassi, Travis Kerr, Nealy Orillion, Adam Mull, Set Designers Henr y Fong, Jonathan Bach, Rick Buoen, Illustrators Zach Fannin, Kevin Kalaba, Kevin Egeland, Yi Lin Zhao, Graphic Designers Claire Kaufman, Set Decorator