Issue link: http://digital.copcomm.com/i/1072449
A main set, a fully accessible version on ground level was needed as well. Set Designer Nancy Deren made such a beauty of Ellen's house, and Callie found some great vintage carpets from a warehouse. Gaffer Chris Culliton said it was his favorite set to shoot in. The exterior had already been found, and research from 1950s Florida homes was used to create the rest. Episode eight is about revisiting the facility and the office complex four years after the Homecoming program. About four days were scheduled to switch the functioning facility to the rundown, dusty version that Carrasco walks into. That was shot in one day, and then there was another seven days to convert it to the Wellness Center. Richard, Doug and I made a grand plan for this, detailing all of the flooring we wanted changed, and the repainting/resurfacing that would be done to make the space feel as different as possible. But with such time (and budget) constraints, compromises had to be made, and we got about two-thirds of what was wanted. The amazing scenic crew pushed to get more done than could be expected. I couldn't have asked for a better team all around. And coming from New York City to work at Universal on those stages was a dream. I think the entire production is proud of the final product, and to see the images with Sam's choice of 1970s thriller scores really wraps up the tone and story in such a unique way. ADG B D C