Issue link: https://digital.copcomm.com/i/1546606
6 4 P E R S P E C T I V E | S E P T E M B E R / O C T O B E R 2 0 2 6 RESHOOTS B Y D AV I D M O R O N G , E D I T O R 20 Years Ago in PERSPECTIVE for a BAFTA and ADG Award recognizing his work on Charlie and the Chocolate Factory, and ADG Award nominations for Minority Report and The Terminal. McDowell's interest in world-building have led to employing his methods into other areas, working on the design of future and present systems with Ford, Volvo, Nike, Boeing, along with nonprofit and educational partners like the Rainforest Alliance and Indigenous communities in Alaska. He is professor of practice at the USC School of Cinematic Arts, where he holds the William Cameron Menzies Endowed Chair in Production Design. In his efforts to map the intergration of technology in the design process, McDowell published the Digital Design Mandala in the 2006 issue to demonstrate the way in which digital technology in design has enabled an unprecedented interconnectivity between the visual engine of a film and all of production. The September 2006 issue of PERSPECTIVE was titled PERSPECTIVE ON TECHNOLOGY, the first time the journal focused on a specific subject. Founding editor Michael Baugh was joined by Production Designer Alex McDowell to present a deep dive into how digital design programs were reshaping the practice of narrative design. McDowell was an early adapter and promoter of design software and digital technology. He has designed over 25 feature films in his 30- year career, including Fear and Loathing in Las Vegas, Fight Club, Minority Report, The Cat in the Hat, The Terminal, Charlie and the Chocolate Factory, Corpse Bride and Man of Steel. Among his many award nominations are A. MINORITY REPORT. PRODUCTION DESIGN BY ALEX MCDOWELL. PRODUCTION STILL. B. THE DIGITAL DESIGN MANDALA BY ALEX MCDOWELL WITH HELP FROM FRANÇOIS AUDOUY. MATTER/ADG/2006 A B A