Issue link: http://digital.copcomm.com/i/1109293
T R I P L E F R O N T I E R | P E R S P E C T I V E 6 1 B Starting with base locations in Hawaii, Colombia and the High Sierras in Northern California, the goal was to find the journey, capture the spirit and imagine the gritty, realistic environments that support the storytelling. There were many challenges set forth by remote locations, unpredictable weather and an ever-shifting goal line on a production plagued by a fluctuating cast. I do believe when films finally get made, some kind of small miracle has happened. Oddly enough, in the case of this project, aptly titled Triple Frontier, it took three production runs to finally complete the film. I was brought on as the Production Designer in the second iteration following a temporary shutdown and exchange of property between studios. Darren Gilford, who hired me onto the first round, was no longer available and with his generous support, J.C. and Alex Gartner shepherded me into the Production Design position as Netflix took ownership and casting was underway. Not only did I "hold on" but so many others who were on this journey with me continued steadfastly navigating the shifting dates. Despite the incredible odds, so much love and care continued to be poured into this project on every level. J.C.'s son put it best when we were shut down for the second time, one week out from principal photography. He was asked, "What is your dad's superpower?" His reply, "He never gives up." A. LOREA'S DINING ROOM, ILLUSTRATION BY MAREK OKON WORKING IN PHOTOSHOP.