Issue link: http://digital.copcomm.com/i/1043753
6 4 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 1 8 much of the shoot and I would regularly check in with him to make sure that some piece of furniture or prop felt right for Freddie. When set decorator Anna Lynch-Robinson and I would look at options for Freddie's set dressing, we would say to one another, "I'm Freddie f'ing Mercury" and the choice would suddenly be obvious. Another One Bites the Dust Often when planning a large shoot, it can be helpful to push the biggest sets or the most complicated builds toward the end of the schedule. This allows the shooting company time to hit its stride and gives construction a chance to fill the stages with scenery. This film would not be so lucky. The opening scene, as well as the finale of the film, was meant to be a recreation of the iconic Live Aid concert of 1985, often sited as one of the most important live performances in the history of rock music. This concert took place on a sunny day in August, and apparently, it rains in England. A lot. In an effort to try to beat the weather, it was soon decided that the first week of the shoot would be dedicated to the Live Aid concert. Therefore, not only would the actors need to be at the top of their game the first time the camera rolled, but the Art Department would have to be ready with a massive exterior set within a few months. B C A. DRAFTED DETAILS OF THE STAGE STRUCTURE BY OLLY WILLIAMS. B. BACKSTAGE AREA UNDER CONSTRUCTION. WEMBLEY STADIUM PROVIDED THE BASIC IDEAS, BUT LIBERTIES WERE TAKEN TO COMPRESS THE STORYTELLING. C. STAGE AND TENTED BACKSTAGE AREA UNDER CONSTRUCTION, GIVING A SENSE OF THE SCALE OF THE OVERALL BUILD. A