Issue link: http://digital.copcomm.com/i/1010570
technology we had to build practically, and also how to make the lounge not look like the same place as the bar, when both would be shot in the same set. Dan and I sorted out the physical room changes, but shooting on stage meant that there would suddenly be many fewer location days for turnarounds. This meant turning around sets had to happen overnight or over the weekend. As there was little money for overtime or night premiums, Jon and Sam worked with the producers and our very clever first assistant director, Alex Gaynor, to come up with a schedule that minimized those costs and gave us just enough time to make a small set work as a bigger world. Some work was overnight, most of it was early morning or in the dark during the shoot day. While trying to resolve these zingers, the work to create the world of the Artemis continued. It took a bit to figure out how to make an affordable art deco world that still looked rich, and told the story the design team wanted to tell. It was important to create a world where The Nurse was boxed in, not just in her physical space but also in ways the audience could sense metaphorically. Plus I wanted to suggest a specific period, frozen in time, but didn't want a high deco filigree—that was too pretty for the story and fought against an important underlying sense of dread. I discovered in the design details of the Bullocks Wilshire, a series of lines and forms that provided the clues to resolve this. Riffing off of those details, Dan and I were able to come up with a series of boxes in the halls and rooms that both created the emotional space we wanted, and helped to force perspective, making the hallways look longer than they really were. Dianne helped figure out a way to create different lattice entries, different tile details, and the critical wall murals differentiating each room. Sam worked with construction (Bruce DiValerio, Jon "Kaz" Kazunaga and Eric Pifer) to make sure those turnarounds were seamless. All of this happened on top of one another— the schedule was so tight, the turnaround sets were being designed while the construction had already started. Not ideal, even with the Art Department's skills and diligence. This led to cost and construction challenges, aggravated by the fact the budget did not allow for a construction accountant to keep up with spending. (One lesson learned: no matter how small the project, never work without a dedicated construction accountant!) But with the support of Adam Siegel from Marc Platt Productions and Stephen Cornwall from The Ink Factory, the efforts continued, cutting as much as possible and finding contingency when it was needed. It was a truly inspiring team effort. G. ACAPULCO SUITE PHOTOSHOP MURAL BY SAM MICHLAP. H. PRODUCTION STILL OF THE ACAPULCO SUITE. I. LATTICE DETAIL. DESIGNED BY GRAPHIC ARTIST DIANNE CHADWICK. G H I