Issue link: http://digital.copcomm.com/i/1072449
8 0 P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 9 Obviously, all of these sets needed to be dressed, and as always, Jan Pascale and her team brilliantly rose to the challenge. As previously mentioned, the story takes place over the course of sixty years, multiple countries and five different administrations. Lots of research and planning had to be done to recreate not only the eras but also the specific cultural differences that one finds in everyday life and make it look seamless. There was an opportunity to do a bit of what I call subliminal design or set dressing by the use of metaphorical artwork to support the content of some of the scenes. This is always quite fun to do. Carefully inserting elements to the sets that would refer to the back story: Army recruiting, bank loans and credits, guns, human suffering on battlefields, fishing, oil, cowboys and indians…a layer of twisted Americana. In Adam McKay's typical writing style, the script also called for some lighter moments to help vulgarize in a more metaphorical manner some A B C D more serious or complex aspect of the microcosms of Washington. These scenes allowed some experimentation with design, set dressing and even with the use of models in the form a giant political board game of D.C. There was even a musical number in the cafeteria of the Capitol building, an intimate Shakespearean moment between Dick and Lynne, and a certain dinner at a very exquisite and strange D.C. restaurant. To make this crazy endeavour all possible, I need to mention the collaboration of Matt Rebenkoff, the first assistant director, and his team. Their help was paramount to making this work. Set changeovers, re-dresses and cast schedules don't often work in unison, but they made it run quite smoothly. Making this movie was one of the most enjoyable film experiences I have had. A great group of people with the same goal in mind: Honouring the best script we had all ever read with a great leader at the top to follow. ADG A. TAME THE WILD WEST. ILLUSTRATION BY AARON MORRISON. B. CHENEY'S YALE DORMITORY ROOM ON SONY STAGE 28. SET PHOTO BY MATT KENNEDY. C. RESTAURANT CHEZ TALION, WHERE THE CHOICES ON THE MENU ARE ALWAYS TORTURING. D. THE HOSPITAL SET DURING PRODUCTION. SET PHOTO BY MATT KENNEDY.