Issue link: http://digital.copcomm.com/i/1124104
F C E D G For the exterior of Hill House, the plan was to build it on a location site, only to realize that the scale (a.k.a. budget) needed was never going to materialize. The production searched all over Atlanta's immediate and not-so-immediate areas for a good existing location. We fell in love and tried to purchase a fantastic manor to use as exterior and even possibly some interiors, to no avail. While this exhaustive search for the perfect exterior went on, the need to start imagining and designing the interior became imperative, this is far from the ideal situation. The interior grew on the drawing table, lines started to be placed on the stage's floor and walls starting to go up—all with the continuing uncertainty of having no exterior to match. Finally on one great day, the location department came up with the perfect house. A place that made us all all wonder—how the heck did this English manor end up in the middle of Georgia?! Revisions were made to some of the interiors (matching the front windows, an upstairs parapet wall and so on) and changes were made to the exterior location as well (plugging the existing entrance wall, replacing the door, removing and trimming trees, just to name a few). Modifications went back-and-forth between stage and location to end up with one happily married, interior- exterior Hill House. The haunting of it was all Mike Flanagan. Having worked with Mike and his partner in crime, director of photography Michael Fimognari, I knew the sets were going to be pushed to the limit in terms of choreography and technical needs. Episode six in particular was written as a series