Issue link: http://digital.copcomm.com/i/1109293
are then forced to intimately walk past the traumatized families of the men they just killed. All aspects of the built hut and the dressing within it was looked after in detail to set the scene grounded in a believable realism. Within this set and perched at the top of the hill, Redfly must pay the elder for each life taken and the mules they intended to take. In order to exit, the group must continue to walk the gauntlet but are momentarily held up by a village boy who lost his father. After a brief but ominous moment, the village elder calls him off, but the scene plays to a grim foreshadowing of what is to come. Born from their narcissistic self-interest and abandoned morality, fate continues to collide against these severely flawed protagonists as they get what they deserve in the end. For many of us who did not know what was to come, Triple Frontier as a whole presented the filmmakers with many challenges along its storied journey from script to screen. On the last leg of an unexpected journey, through three productions, two studios and roughly eighteen months, many came and went, but all contributed to the beautiful, final look that made up this unique and exciting adventure on what I like to refer as "the wild ride that was." ADG Greg Berry, Production Designer Peter Borck, Supervising Art Director Matt Gatlin, Maria F. Munoz, David E. Scott, Art Directors Patrick Scalise, Assistant Art Director George R. Lee, Set Designer Marek Okon, Jamie Rama, Robert O. Simons, Illustrators Wendy Stokes, Graphic Designer Jay Hart, Set Decorator C D B