Issue link: http://digital.copcomm.com/i/1124104
of long takes. The sets for both Hill House and the funeral home, which were on contiguous but separate stages, had to be aligned with the needs of this episode in mind. These included a built- in flashback, shot in one take, where a character walks from the funeral home to Hill House, requiring the building of a connecting hallway that went through one stage and into the next. Hidden access corridors for cast and crew had to be incorporated on this episode. All sets were built to accommodate a camera that would see 360 degrees. One of the most dramatic moments of the series is Nell's return to Hill House, after decades of abandon and neglect. Beyond the extensive work needed to show time's effect on the house, it was the spiral staircase that would be another gigantic challenge. This staircase and its relation to Nell would prove to be one of the iconic moments of the show. Originally imagined to fit within the double-height ceiling of the library, it was decided that the spiral staircase needed to go even higher. Easier said than done, all gears were put in motion to come up with a plan—and a new budget line. A three-story spiral staircase was soon being erected, all the way up to meet the stage's catwalk system. This led up to a hallway section that would later be reproduced as a full third-story hallway leading to the red room, with its own shorter version of the spiral staircase. The way I see it, a set is as emotional as it is mechanical. Having the chance to make walls, ceiling pieces and other set elements "disappear" to allow otherwise impossible shots requires separate planning to make it all work. Communication within the Art Department and with other departments is essential. In this highly collaborative effort, every individual, every position within a team is essential. Among other things, The Haunting of Hill House gave me the opportunity to put a great team together. I had the pleasure of being able to work with Art Director Hugo Santiago, who brought years of experience and endless energy. As the production moved forward, the Art Department gained considerable proportions, with up to ten Set Designers working simultaneously at one point, to just name one group. Local Art Director Heather R. Dumas worked tightly with the great location department, led by Carlos Rey del Castillo. Set decorator Kristie Thompson, using her fantastic eye for detail, sensitivity and deal- making savvy to gather great, unique pieces from all over the state and beyond. It's hard to imagine the myriad of deadlines, deliveries, pickups and constant last-minute urgencies not letting chaos take over without the organizational skills and steady hand of Art Department coordinator Jessica Segal. Illustrator extraordinaire Jamie Rama never fails to nail the perfect image in one's head. Many talented and tireless professionals dedicated their time, craftsmanship and passion to this project, it would be impossible to name them all but even more impossible to have done what we did without every single one of them. ADG B A. HILL HOUSE INTERIOR. THE DOORWAY TO THE RED ROOM. SET PHOTO. B. THE TREE HOUSE, ONE OF THE MANY IDENTITIES OF THE RED ROOM. ILLUSTRATION. C. THE CHILDREN'S PLAYROOM, ANOTHER MANIFESTATION OF THE RED ROOM. SET PHOTO. D. THE RED ROOM AS IT APPEARS IN THE FINAL EPISODE. E. THE GRAND STAIRCASE. SKETCHUP STUDY. F. THE GRAND STAIRCASE. IN PROGRESS. G. THE LIBRARY WITH SPIRAL STAIRS TO THE RED ROOM. ILLUSTRATION. A