Issue link: https://digital.copcomm.com/i/1535796
And we did. From white card models to full-scale builds, from moody London backstreets to golden hour beaches in Tuscany, every location, every set, every space was built with intent. Built to serve the story. Built to feel lived in, not just looked at. There's always a moment on a production like this when you wonder how on earth it's all going to come together. But it always does. Maybe not how you imagined it—sometimes even better. What was achieved visually went well beyond what I'd initially pictured—and that's entirely thanks to the incredible work of the Art Directors, draughtspeople, set decoration, props, construction, graphics and greens. The level of detail and craftsmanship they brought to every set made it genuinely hard to believe we weren't shooting in real locations. Would I do it all again? Probably…after a holiday…is time a healer? …maybe, if it's Bond… ADG Neil Lamont, Production Designer Alastair Bullock, Super vising Art Director Alex Baily (Sr.), Michele Brunetti (Italy), Christian Huband (Sr. Loc.), Jasper Fitzgerald, Gavin Dean, James M. Spencer, Christopher Vincent, Art Directors Peter James, Owen Mann, Standby Art Directors Matt Francis, Lucy Williams, Assistant Art Directors Phil Donaldson, Tim Adams, Emily Cannon, Matthew Hurr y (Jr.), Nick Ramsay (Jr.), Draughtspersons Pierre Greenway, Model Maker Eva Kuntz, Andrew G Smith, Concept Artists Dominic Sikking (Lead), Andy Bottomley (Lead), Anya Kordecki, Carla Maceda, Jake Fulton (Ass't), Graphic Designers Pancho Chamorro, Julie Graysmark, Jo Graysmark, Set Decorators D F E G H