Issue link: http://digital.copcomm.com/i/1043753
T H E H O U S E W I T H A C L O C K I N I T S W A L L S | P E R S P E C T I V E 3 5 When I received the script for The House with a Clock in Its Walls, I had no idea that it was a period haunted house movie. The title, which comes from a series of young adult books, seemed long and literal. But as I read the script, I realized that it was a dream job for a Production Designer—especially when I imagined it through the lens of director Eli Roth (who is best known for his terrifyingly original horror films). I showed up a little early for my initial interview with Eli, and found him parked in his electric BMW sports car, fresh from hosting Shark Week. The last time we had seen each other, he was the producer's assistant on Quiz Show (and I was the Production Designer). I launched into my pitch about the film—how to conceive the world through the eyes of ten- A. THE HOUSE TRANSFORMED TO SHOW THE CLOCKWORKS. PHOTOSHOP ILLUSTRATION OVER A LOCATION PHOTO BY FERNANDO ACOSTA. B. THE PARROT-SOUCY HOUSE, THE EXTERIOR LOCATION AS IT ORIGINALLY APPEARED. C. EXTERIOR OF THE HOUSE. PRODUCTION PHOTO. Quantrell Colbert/Universal Pictures and Amblin Entertainment B C