Issue link: http://digital.copcomm.com/i/1061165
Hollywood tapes, #MeToo and 24-hour news feeds, would such a story still resonate? It's hard to recall, but 1987 was also thought of as a time of cutting-edge technological advances in the arena of news gathering. CNN was in ascendance, along with C-Span and FOX-TV. Brick-like cellphones and Tandy laptop computers allowed reporters to post news stories from anywhere without needing a payphone and a pack of quarters. Every newsroom desk was a battlefield where IBM 5150 computers were crowding out the old IBM Selectric typewriters of the decade before. Satellite trucks were replacing vans with microwave dishes, allowing the press to mobilize in great convoys onto country roads like the one named Troublesome Gulch, where Gary Hart's log cabin home was actually located. The juicy overstuffed script would explore all of the above, in a tale that traveled from that Colorado log cabin to the Hart Campaign B A. PREVIS MODEL OF THE WALDORF BALLROOM DONE BY ASSISTANT ART DIRECTOR ERIC JOHNSON. B. WALDORF BALLROOM, SET PHOTO. C. SAN FRANCISCO VIP SUITE, 1984. SET SKETCH BY STEVE SAKLAD. A FACELESS CREAM ROOM BECAME A KENNEDY-ERA SUITE WITH FLOCKED WALLPAPER PANELS OUTLINED IN GOLD MOLDINGS, WITH TRADITIONAL DOORS, HARDWARE, CANOPIED HEADBOARD, BROCADED WINDOW SWAGS AND JABEAUX. D. & E. SAN FRANCISCO VIP SUITE, SET PHOTO. A C D E