Issue link: http://digital.copcomm.com/i/1124104
It was at this point that Barry Sonnenfeld wisely announced that the only way to continue was to do seasons two and three consecutively. Otherwise, the orphans would be teenagers. So great, for anyone who liked working on season one, there's even more to love on seasons two and three: bigger and faster. Don MacAulay, the Supervising Art Director, once again rounded up the troops, mapped out a strategy and lobbied for more stage space. Meanwhile, working with four amazing concept artists: Milena Zdravkovic, Warren Flanagan, Kasra Farahani and Jamie Rama, I dove into Austere Academy, Ersatz Elevator, Vile Village, Hostile Hospital and Carnivorous Carnival, recognizing that each alliteration aptly described the broad strokes of my mission and underscored the rapidly expanding scope and range of the Baudelaire journey. The show's footprint grew beyond the stages at Ironwood Studios, our base, which we filled repeatedly, to include two more big stages . The breakneck speed of the art, construction, paint, sculpting, greens and set decorating departments was only surpassed by the consistently high quality of their work. The machine was firing on all cylinders. Of course it was stressful, but it was also heavenly to watch it materialize from rough sketches, to a physical environment, to a world the wonderful actors would inhabit. Mercifully, Netflix granted a one-month hiatus in the middle of shooting season two. During that month, I jumped on season three which included: Slippery Slope, set in the Mortmain Mountains in winter; The Grim Grotto, which mostly took place F C E D G