Issue link: http://digital.copcomm.com/i/1196709
L U C Y I N T H E S K Y | P E R S P E C T I V E 6 3 the action was in one corner, where astronauts were generally lowered into the water. I did try to stay loyal to the original palette of the existing NBL, introducing a bright yellow, very much present in many areas of the lab. The connection between the pool and the inside and outside of the control room was resolved by building a two-sided wall looking onto the pool deck. This wall was then also used for the control room set. The director paid homage to the set for the NASA training facility by tiling a bird's-eye view of the entire hangar. The audience can see the module for the ISS, the window to the world, the cockpit for the space shuttle and the generic training elements. Cola House Another challenging aspect of this movie was to recreate Houston in Los Angeles. any houses were scouted before finally finding a ranch-style house with a beautiful front yard without a fence, very much like the suburban communities near the Johnson Space Center. The landscaping was enhanced by adding greens from the area, including adding Spanish moss, to the existing trees. When in her house and in her private life the lines soften out, the shadows are organic with plants, trees and owers, and the palette is earthy. There is a beautiful scene where Lucy's husband is peeling o old wallpaper, stripes and rigid lines, to reveal the original wood-stencil decor, natural owers painted on the wall sometimes used in old houses in Texas and Virginia). The house was repainted and vintage wallpaper added to maintain the warm color palette, in contrast with the cold palette of NASA, while the set decoration gave the interior a southern touch in the layered details of the house dressing. E. NASA NEUTRAL BUOYANCY LAB. PRODUCTION STILL. F. JOHNSON SPACE CENTER. OFFICE. SET PHOTO. G. NASA NEUTRAL BUOYANCY LAB. LOCKER ROOM. PRODUCTION STILL. H. COLA HOUSE. SET PHOTO. I. COLA HOUSE. WALLPAPER REVEAL. SET PHOTO. F G H I