Issue link: http://digital.copcomm.com/i/1184216
schedule changes to Art Director Laura Ballinger Gardner without delay. Often the response was "Sorry, we have to take the Howard Johnson's coffee shop down by next Friday in order to have the Deauville Hotel Suite ready two weeks from Tuesday." I said that her credit should have been air-traffic controller. As with most shows, there were late additions to the script. Laura was the only person who could figure out where to fit a five-chair 1950s barbershop on the stage. There is much trading of war stories in the film business. Word gets around town that you are working on a challenging show with close to three hundred sets and locations. Colleagues that I ran into would say, "It must be a nightmare!" I had to hold back from saying, "It was nothing." I was happy to report that that Art Department had a blast. By that I don't mean it was easy, but working on an exciting project with tremendous support from the New York producers and from Netflix, in the service of a visionary director is about as good as it gets. ADG A B A. FRIENDLY LOUNGE. CONCEPT SKETCH.CREATED IN PHOTOSHOP BY ERIC FEHLBERG. B. STAGE SETS IN THE MARCY ARMORY. PRODUCTION STILL. C. BARBER SHOP INTERIOR. PRODUCTION STILL. D. RESTAURANT INTERIOR. PRODUCTION STILL. E. COPACABANA EXTERIOR. PRODUCTION STILL. F. UNION MEETING. PRODUCTION STILL. PRODUCTION STILLS BY NIKO TAVERNISE.