Issue link: http://digital.copcomm.com/i/1184216
B O M B S H E L L | P E R S P E C T I V E 9 3 E fandom. I picked which of the white walls to accent with color—what I called "Fox Yellow," "Fox Blue" and "Fox Tomato Red." One day, Sharianne let me know that more fl oors at the Times Building had opened up. I'd fi gured out a lot but was still looking for the makeup rooms, a wardrobe closet, additional corridors and a space to build The O'Reilly Factor. The brilliant luck, as it turned out, of shooting this Fox News "offi ce movie" in the LA Times Building became clear when the newly available 2nd fl oor presented its own studio wing, complete with...makeup rooms, a large shootable closet already shelved out for wardrobe, and the newspaper's print studio itself—large enough for one half of the O'Reilly set (more than was needed). They were all connected by mundane, yet specifi c studio corridors with perfectly stained carpet and tall elephant bay doors. The 2nd fl oor became Bombshell's 1st-fl oor studio. On my initial scout of the Times Building, I was shown a gray, windowless basement fl oor that didn't lend itself to anything on my list. It was evidently great for the FBI offi ces in Argo, but for me, easy to discard. I had images of the very BLUE Fox on-air basement newsroom, but it didn't ring true here. I had nothing yet on the "Pods" except descriptions—essentially they were clusters of cubicles for the associate and junior producers and show PAs—and a major set in the fi lm. An Atheist in the Fox Hole, written by former Fox employee Joe Muto was an indispensable and very marked up resource, and was great for descriptions of the basement. Included were the much-discussed newsroom, it's subterranean security entrance/foyer (just past an underground Wendy's), the "War Room" (a glassed-in conference room for daily editorial meetings), its editing bays and the pods. Without more photos, however, I could only guess at what it all actually looked like. When my mole did fi nally come up with them—I couldn't believe my luck when I happened back upon this windowless space I'd completely forgotten and realized how perfect it was. With the plan to remove a portion of ceiling for the low newsroom "grid" and studio lighting, demo existing offi ces to make room for the glass foyer, add more F E. KAYLA'S POD IN THE FOX BASEMENT OFFICES. MARGOT ROBBIE AND KATE MCKINNON'S CHARACTERS SHARE A POD RIGHT IN THE MIDDLE OF THE BASEMENT SET GIVING THE MOST DEPTH IN BOTH DIRECTIONS, AS WELL AS THE ANGLED GLASS OF STUDIO N. PRODUCTION STILL BY LIONSGATE/HILARY GAYLE. F. FOX BASEMENT WAR ROOM, A GLASS CONFERENCE ROOM OPENED UP ONTO THE NEWSROOM AND THE REST OF THE PODS. PRODUCTION STILL BY LIONSGATE/HILARY GAYLE. G. THE BASEMENT NEWS ROOM, FOX'S VERSION OF THE TYPICAL NEWSROOM "BACKGROUND" FOR THEIR STUDIO N INTERVIEWS. PRODUCTION STILL BY LIONSGATE/HILARY GAYLE. H. FOX BASEMENT OFFICES. FLOOR PLAN. G H