Issue link: http://digital.copcomm.com/i/1043753
we were told that in addition to this work, a whole new traveling sequence had been added. Several motel rooms had originally been built for the show, but Fincher now asked for five new motel room interiors, six miniature exterior motel signs and six miniature motel facades, which were added to develop this new "life-on-the-road" sequence with the two main characters. Additional new airport and airplane shots were added, along with other location work to finish the sequence. Also the BTK (Bind, Torture, Kill) character was added at this time, so there were six new locations and two other interior sets to build on stage. On top of all this, I was told I needed to come up with a completely new set for the Rissell interview scene, as they were recasting that part. Oh and I almost forgot, two more new sets were added, Wendy's apartment, which was a location, and her laundry room, which was another build on stage. In the end, the two weeks of reshoots turned into eight weeks of action-packed building, painting, dressing and shooting, it felt like a whole new episode to the show had been added. Something I learned early on working with David Fincher is the importance of lighting, and the planning and actual building into sets of a lighting plot with practical lighting. On House of Cards, many of the sets on stage had muslin ceilings, a hard perimeter soffit with a central fabric ceiling panel that can be lit from above to give the set a soft, non-spectral wash of light. On Mindhunter, more hard ceilings were used on the stage sets, offset by practical lights built into the sets in the form of hanging fixtures, sconces or table lamps. Often these were the only sources of light used in filming. In many cases, the requirements of the set lights meant the fixtures had to be designed and built from scratch to get the proper look and lighting effect. For example, Fincher asked for a rustic hanging chandelier-type fixture in the Stateville interview room with Richard Speck, so I put together a bunch of pipefittings with sockets inside a wire cage and hung it over the interview E. WENDY'S APARTMENT. LOCATION SHOOT, ONE OF THE FEW PLACES WHERE I PUSHED SOME OF THE KITSCH OF LATE '70S STYLE WITH THE ADDED SUPER- GRAPHIC ON THE WALL. SET PHOTO. F. STATEVILLE INTERVIEW AREA. PHOTO OF STAGE SET. PHOTOS BY NIKOLAI LOVEIKIS. F E