Issue link: http://digital.copcomm.com/i/1010570
All of that worked visually in great part due to the skills and eye of the director of photography, Chung Hoon Chung. Between the ways he and Drew chose and lensed the shots, and how he subtly manipulated light and color, he brought the set-work to a compelling stylistic reality. The other critical component of our team was a remarkable set decoration department. Rosemary Brandenburg skillfully and creatively led another small but mighty team. Her leadman, Mark Boucher (yes, we had two "Mark Bouchers" on this project; much email confusion ensued…), shopper Lisa Tong, gang boss Bart Barbuscia and onset dresser extraordinaire Jeremy Cisneros, along with a tight but devoted dressing crew, found a way to create the complicated medical dressing and give the Artemis its period grit under the "yes, there is no money" mantra. They wrung every last possible detail from their fixed deals with various prop houses, giving the Artemis its general mood, and creating a specific look supporting each character in their iconic room. Maybe even more impressively, they were able to create a Downtown LA riot scene on a street that could only be dressed on the day of shooting, and only on the sidewalk, moving out into the actual street with just two hours before shooting—and then they had to pack it all up when shooting was completed after the first night, just to bring it back out the next day on the same schedule for night two. Lots of careful planning, and careful alignment of specific pieces to specific shots, along with strategically placed fire and smoke, made it look like there was more chaos then there actually was. The final key to finishing the puzzle of Hotel Artemis, and the one to help crack zinger 5, was the incomparable location manager, Michael Burmeister, and his indefatigable crew, Alex Kivlen and Lee David Lee. To create the rest of the inside and outside of the Artemis, when it seemed impossible to find an affordable alley or hotel in LA, took untold hours of hunting and deal making. The set was finally pieced A. PRODUCTION STILL OF DOWNTOWN LOS ANGELES STREET. B. PRODUCTION STILL OF THE RIOT SCENE IN DOWNTOWN LA. C. ROOFTOP ILLUSTRATION BY TILL NOWAK IN 3DS MAX AND PHOTOSHOP. A B C