Issue link: http://digital.copcomm.com/i/1010570
8 6 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 1 8 Beyond the CSPD set, there were a number of choices made to underscore the contrast between Ron's world and Felix's world. Decorator Cathy Marshall put together a thoughtful look for each of their homes based on the idea that Ron is a modern and forward-looking person, and that Felix looks backward to a past that he cannot possibly have. Ron was, in fact, a pioneer of sorts, excited to try new things and to have the latest look in his wardrobe and décor. Felix, on the other hand, showed no such vision. On the contrary, his space was decorated in patterns and colors from the fifties and sixties, suggesting a lack of touch with the present. Felix's house is not unpleasant, however, there is nothing above the basement to indicate the hate that spews from below. I never wanted to present these people as buffoons or rednecks. That lets them off the hook. The much scarier reality is that they are everywhere and among us. By extension, Ron's initiation ceremony takes place in a secret basement, but the KKK banquet is held in a fairly typical steakhouse. They are not exactly hiding themselves. They are active and powerful and moneyed. To say that making BlackkKlansman was difficult is to oversimplify the issue. It involved designing a period piece being shot on 35mm, on a very tight budget with an auteur director and challenging material. But it is under these conditions a design team can pull off its best work. We had a construction coordinator in Mike Kall who was newer to the position, and nailed every aspect of the builds, we had a great set decorator in Cathy Marshall who was familiar with Spike's mode of working and was more than up to the challenge again, we had an Art Director in Marci Mudd who made sure everything ran smoothly and efficiently (and on budget) on what at times seemed to be the world's smallest major motion picture, a Graphic Designer in Emma Stensaas who threw herself into the period as much as she had on some of the graphic shenanigans of She's Gotta Have It, and an Assistant Art Director in Dave Lieber who aggressively drew to the edges of the stage, and often beyond. The film is a testament to their talents, seriousness and dedication to its visual concept. ADG APARTMENT DECOR A B C