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F D Russell Tyrrell and visual effects supervisor Louis Morin (Arrival), Walter was able to create a supernatural environment that remains grounded in the tactile, theatrical reality that characterizes the rest of the film. The planning and execution of this sequence was achieved by a fluid collaboration between all departments, under the watchful guidance of Eli and cinematographer Rogier Stoffers. In addition to Walter's digital model of the set, a half-inch- scale white model, constructed by LA Model Maker Jason Mahakian, was used. This old-school tool allowed the creative team to understand the physical reality of the set, and figure out how to shoot it. The whimsy and wonder that the audience experiences with Lewis as he explores The House with a Clock comes largely from the invaluable contribution of set decorator Ellen Brill. Ellen and I had collaborated before on a television pilot for Ryan Murphy, and I knew that she shared my passion for detail, texture and a heightened, theatrical style. Like the architecture of the house, the decoration needed to be rooted in the Victorian era, without taking the audience out of the 1950s. I think we achieved this through an eclecticism of style, color and materials, which keeps the tone playful and real. Ellen had an amazing crew of set dressers, under the able guidance of leadmen Rob Mallard and Scott Troha, and with the assistance by buyer Lizbeth Ayala. The challenges for this crew included not only carving over four hundred pumpkins to adorn the front of the house, they also fabricated six hundred horseshoes (which ward off evil spirits), and a dozen of the amazing automatons which attack Lewis, Jonathan and Florence as they retreat from Isaac's workshop. The automatons were one of director Roth's special fascinations, which it turns out he shares with Mr. Spielberg. Through careful persuasion, Eli was able to get permission to use three antique automatons from Mr. Spielberg's personal collection—a wonderful Easter egg for the audience. Mark Rapport and his Creature FX shop in LA created the hero automaton puppets in the D. CLOCKWORKS. STAGE SET AT ATLANTA METRO STUDIOS. E. AUTOMATONS. SET PHOTO. F. AUTOMATONS. PHOTOSHOP ILLUSTRATION BY FERNANDO ACOSTA. Photos D. & E./Quantrell Colbert/ Universal Pictures and Amblin Entertainment E