ADG Perspective

January-February 2019

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Page 78 of 143

E desks, computers, typewriters and paper stacks imaginable. Sure, the Miami reporters are the bottom-feeders in the story, but it was decided to go against cliché and give Miami a more designed airy look to contrast the scrappier crowded vibe of the D.C. newsroom—hence, matching wood desk setups lined a '60s travertine lobby space with a mezzanine level, on which was built an anodized bronze-framed conference room with naugahyde- wrapped wall panels and glass block looking out onto the bullpen. Beyond the built sun-grills were added a jungle of tropical fronds and bromiliads. Critical to the story was solving this version of The Washington Post newsroom, yes, those same rooms immortalized in All the President's Men and still in colorful if shabby use in 1987. After a long search, the wardrobe/accounting zone of the film's production office at OFS (an old optics factory) provided the perfect raw space. Over two days, the crew installed a recreation of Ben Bradley's iconic office looking out onto the famous bullpen with its round pillars punctuating some twenty-eight workstations, all color- coded in shades of blood-red, forest green or cobalt blue. But unlike Spielberg's The Post, this had to be a set for a brief three-day shoot that wouldn't shatter the budget or the crews overtaxed capabilities. Shockingly, that entire Post newsroom was dressed from soup to nuts in one very long day/night. All credit for pulling off miracles like that goes to the extraordinary all-Atlanta crew: Art Director Cameron Beasley, set decorator Melinda Sanders, Graphic Designer Carrie Gale, construction coordinator Wally Mikowlsky, and charge scenic Gaville Haughton. Cameron, in particular, was a tireless and inspiring demon for details, ensuring that not a single incorrect thermostat, hardware item or handicap sign (they didn't come along till the 1990s) ever appeared on camera. This 38-day shoot was a ball-buster; no other word for it. But with this team, against all odds, we created worlds that always felt authentic, unique and found as is. To us, ugliness never looked so great. ADG E. BIMINI PIER. SET SKETCH BY STEVE SAKLAD. F. THE BACKWATER BIMINI PIER CAME TO LIFE ON THE RATHER UPSCALE TOWN PIER ON TYBEE ISLAND OUTSIDE OF SAVANNAH. THE EXISTING CEDAR SHAKE ROOF WAS COVERED WITH PRE-RUSTED CORRUGATED PANELS WHICH CONTINUED TO RUST ALL DURING INSTALLATION. Steve Saklad, Production Designer Cameron Beasley, Art Director Eric R. Johnson, Assistant Art Director Cierra Madison, Dee Blackburn, Set Designers Carrie Gale, Lead Graphic Designer Justin Cammer, Graphic Designer Melinda Sanders, Set Decorator D F

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