ADG Perspective

January-February 2020

Issue link: http://digital.copcomm.com/i/1184216

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B O M B S H E L L | P E R S P E C T I V E 8 9 I had designed two fi lms for Jay Roach when he called me about his potential next project. They were Trumbo, on the blacklisted screenwriter Dalton Trumbo—and All the Way, depicting Lyndon Johnson's fi rst year in offi ce. With both fi lms, we covered the '40s, '50s, '60s and '70s. The new project would cover a much more contemporary timeframe—and territory. The fi lm didn't yet have a title, but it certainly had a specifi c setting and a true set of events—those concerning the sexual harassment case brought by Gretchen Carlson in 2016 against Roger Ailes, the Chairman and CEO of Fox News. Written by Charles Randolph (who won an Academy Award for his whip smart and fast-paced The Big Short), the script, in his characteristic style, did not hesitate to jump with speed among a multitude of locations: The Fox News Channel's Headquarters B in the Manhattan News Corp. Building, home to Fox & Friends, The O'Reilly Factor, The Kelly File, America's News HQ, Outnumbered, The Five and The Real Story with Gretchen Carlson—all sets represented in the movie. Also, the Fox basement newsroom and its acre of "Pods," the 17th fl oor with its talent offi ces, Ailes' own 2nd-fl oor executive offi ces, the Fox publicity offi ces, the News Corp. lobby, makeup and costume rooms, and the Fox Radio wing. Rupert Murdoch's 8th-fl oor "C" Suite. Endless corridors—all sets. Trump Tower, Trump's offi ce, Trump's penthouse (thankfully, but still heartbreakingly, cut in preproduction), the Cleveland and Detroit Republican primary debates, the Jersey Shore, Sun Valley Idaho, CNN, Paris, London, Russia. Rupert Murdoch's NYC triplex penthouse. The 2016 Republican National Convention. And Walt Disney World... A. THE KELLY FILE STUDIO SET. RHINO STUDY MODEL BY ARIELLE NESS-COHN. B. THE KELLY FILE STUDIO SET. THE FIRST PASS AT PICKING LAMINATES FOR THE KELLY FILE DIDN'T HAVE THE ZING NEEDED. CONSTRUCTION COORDINATOR KAREN HIGGINS ADJUSTED TO BLUE PLEXI AND THE NECESSARY REFLECTIONS BROUGHT THE SET TO LIFE. GRAPHICS ARTIST KAREN TENEYCK COORDINATED WITH STEVE IRWIN AT PLAYBACK TECHNOLOGIES FOR THE LED SCREENS AND MONITORS. PRODUCTION STILL BY LIONSGATE/HILARY GAYLE.

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