Issue link: https://digital.copcomm.com/i/820551
who's talking in this issue P E R S P E C T I V E | M AY / J U N E 2 0 1 7 1 STEVE SAKLAD, Production Designer on STAR – page 61 "Is there too much blood and sweat overwhelming the sparkly sequins? The most thrilling numbers come from smashing the two together and watching the sparks fly." NICK PUGH, Illustrator and Vehicle Designer on LOGAN – page 49 "SketchUp ® is for architecture and blocky stuff, you can't make complex automotive surfaces with it, right? Well, me being me, I tend to do things differently." JORDAN FERRER, Art Director on LOGAN – page 47 "Several hours of highway separated the sets in New Mexico, so it wasn't uncommon to drive to the Abiquiú construction site, and then continue on a few more hours to Rio Rancho." GARE CLINE, Previsualization Artist – page 62 "Whether you are a Set Designer or a cinematographer, you are a previs artist. Previsualization is a very broad term that covers a wide range of skills and disciplines." CHRIS FARMER, Supervising Art Director on LOGAN – page 45 "Both the New Orleans and New Mexico teams managed to roll with the punches to deliver François' vision for LOGAN, a world that feels real, gritty and sometimes a little uncomfortable." Center, left to right: Tyrus Wong's water color concept illustrations defined the look of BAMBI, at the Film Society on June 25 (page 8). Alan Roderick-Jones visits Comic Con in Tokyo (page 10). A painting of a painter: Stephen Mirich's oil shows Set Designer Jacques Valin painting beneath a tree at Portuguese Bend (page 70).