Issue link: https://digital.copcomm.com/i/1546033
J U L Y / A U G U S T 2 0 2 6 | P E R S P E C T I V E 1 K a r e n M u r p h y, Production Designer of THE BRIDE! – page 48 "The sequence in which Frankenstein is fatally shot was originally set in a cinema, but we settled on a drive-in to emphasize both cinematic scale and modernity. We built a streamlined concrete ticket-and-drive-thru booth with modern, backlit sign to highlight the letters, and a large, concrete- framed screen to display scenes from the Ronnie Reed film. We also brought in forty period cars into our color palette, using them to help choreograph the shootout sequence." WHO'S TALKING IN THIS ISSUE C a b o t M c M u l l e n , Production Designer of ROOSTER with Art Department members in the Ludlow College hallway on WB Stage 17 – page 70 "The main Ludlow set alone filled seventeen thousand square feet on Stage 17, with thirty-five feet to the perms—every inch used, roughly 75% of it elevated all the way up, and more than one hundred and thirty sheets of construction drawings generated by the end." A n d y Wa l m s l e y, Production Designer of the COUNTRY MUSIC AWARDS and the AMERICAN MUSIC AWARDS with the awards show design team. – page 24 "It was four-and-a-half months from that rainy New Year's Eve until the first show was live in the arena. It sounds like a long time but typically, giant scale award shows like this would have six months or more preproduction, so it was a fast pace from day one." A n d y N i c h o l s o n , Production Designer of ALIEN: EARTH. Illustration of synth skeleton. "It informed the design of the Maginot, the architecture of Neverland, the texture of Prodigy City, and it even informed the design of our synthetic beings."