Issue link: http://digital.copcomm.com/i/1061165
Trotter, an exceptional Art Director who had worked with me on the pilot. He had a natural sense for the new Heathers universe and prior experience working with Jason and Leslye. For a Graphic Designer, I hired Christina Myal, who had recently worked with me on Roman J. Israel, Esq. Christina is one of the most talented and organized designers I have ever met. I knew she would lend an original and subversive touch to the show's graphics-heavy look and feel. The next addition was Kellie J. Tinney, the show's decorator. Kellie had heard about the series and contacted (read: stalked) me via email. It may have been Kellie's combat boots and Willy Wonka sunglasses, but after meeting with her, Mathew and I intuitively knew she'd understand the world of Heathers. Completing the team was leadman Jorge "Chavo" Rodriquez and his crew of very talented set dressers, Joe Weber, Set Designer, Mark Walbaum, Art Department coordinator, Nathan Brown, Art Department PA, and "Dollar" Bill Gideon who would lead the construction department, along with Tom Perry as paint foreman. Collaboration was central to the look and feel of Heathers. This would be a world that played with the semiotics of color and style and required strict symmetry and consistency. To achieve this, the Art Department worked closely with costume designer Aubrey Binzer, keeping her updated on the colors, patterns and graphics for each set. Aubrey's avant-garde wardrobe choices were truly spectacular. The Art Department also worked closely with Adam Silver, the director of photography, and gaffer David McGrory (also director of photography on episodes where Adam was unavailable). These guys were indispensable to creating and maintaining the overall beauty and visual coherence of the show. The series takes place in contemporary Middle America, but throughout the design process, inspiration was drawn from decades past, while also paying homage to the original film and other iconic movies, most notably, The Shining. As in the original film, all of the main characters would have their own colors: Heather C (red), Heather D (green), Heather M (yellow) and Veronica (blue). Heather Chandler - Red In the original Heathers, the movie opens with a close-up of Heather Chandler's red scrunchie. In the pilot of this version, the symbolic red scrunchie makes a cameo re-appearance on actress Shannen Doherty (Heather Duke from the original movie) as she stands in a burning house. Thematically, the color red conveys passion, power and aggression, which is perfect for Heather Chandler. Heather Chandler's living room is full of sharp edges and unforgiving furniture. Her bedroom is a reflection of her self-obsession and sense of dominance. Red was brought into her private space with set dressing, neon and artwork that included hard, metallic and reflective finishes. Metal spikes were added to the wall of her fireplace to highlight her capacity for quickly and mercilessly skewering the vulnerabilities of her friends and enemies. A. HEATHER C'S CHILDHOOD BEAUTY TROPHY ROOM. BUILT ON STAGE AT CAPITAL ARTS STAGES. PHOTO BY TIMOTHY SWOPE. B. HEATHER CHANDLER'S 1980S MEMPHIS-INSPIRED LIVING ROOM FILLED WITH UNFORGIVING FURNITURE. PHOTO BY ROBERT JOSEPH. A B