Issue link: http://digital.copcomm.com/i/1241865
B I R D S O F P R E Y | P E R S P E C T I V E 4 5 NOTE!! ALL SCULPTURAL ELEMENTS (STAGE HANDS, TABLEAUX GIRLS & BOOTHS LIGHTS) FINISHES TO BE DISCUSSED FINISHES TO BE DISCUSSED TABLEAU REAR WALL AS LIGHT BOX TO BE DISCUSSED BAR STEPS ALL UPPER WALLS AS CONCRETE NOTE!! NOTE!! NOTE!! DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # DET. # SEE SHEET 6 SHOWN UNDEVELOPED NOTE!! NOTE!! NOTE!! DET. # 10FT X 8FT 10FT X 8FT WILD WALL STAGE ELEMENTS SECTION/ELEV. SCALE: 1/4"= 1'-0" SEE SHEET 7 SEE SHEET 7 SEE SHEET 7 SEE SHEET 9 DET. # WILD WALL PROSCENIUM HEADER & STAGE REAR WALL TO BE SUSPENDED SEE SHEET -14 DET. # LIGHT LIGHT LIGHT TROUGH AS CONC. B 10 10 10 10 10 10 10 10 10 10 10 10 10 10 7 6 8 8'-4 3/8" 8'-4 3/8" 8'-4 3/8" 19'-3" 2'-0" 3'-2" 3'-2" 17'-3" our lens, she is our palette. To her, everything is upbeat, optimistic, even when the streets are rough and fi lled with selfi sh unsavory characters, she sees the glimmer of trust and hope. This was applied to the lower rise neighborhoods of Gotham, as opposed to the heights and rooftops that belong to that at Guy. ne visual pattern that I wanted to explore was fi gurative sculpture in diff erent sets, as well as pop art references. I had never approached a character as pop art before. The backgrounds are loud because the characters are. sually I like to be fairly subtle and not overwhelm the performance, but in this case, it was a matter of keeping up with their brashness, so it allowed for more visual noise. After thorough scouting and determining the logistics and changes reuired to many locations would be too great, the production determined there were a number of sets that would be better built on stage the nightclub, the safehouse, funhouse interior, arley's apartment and the pier. ocations for the remaining sets were found and adapted in keeping with the style. This is Gotham, and the city is split into two main viewpoints is and ers. The mob boss oman ionis is based on control and possession. D and this fi lm in particular have really good villains. They are complicated and messy. oth oman ionis and ictor sas played by Ewan McGregor and hris Messina, are their own circus of broken egos. They want everything like a spoiled child. oman has underworld chint bling. is nightclub goes unnamed but is represented by a pair of patent leather gloved hands ready to smother and suppress. The production called it the lack Mask lub. This set was built on stage at Warner ros. where the production was based and it needed to be both a performance space for lack anary, who sings there, and a bar where low-life hoods gather. anary is a much greater talent than the respect she gets in oman's nightclub as a performer, so her staging needed an element of sultry mystery to let her own song elevate the viewer, as opposed to arley's wildness in the same space later. This space served oman's, arley's and anary's characters each in diff erent ways that mirrored them. Wherever oman goes blood is spilled and leaves garish red behind in his uest for gold. These are the colors of the nightclub. A number of sculpted pieces fi ll the space. An empty performance stage isn't very attractive, so after a number of ideas failed, I ended up fi lling the stage with the symbolic hands with glaring eyes peeking out from smothering black gloves. This gave the room a focus. Two caryatid female torsos a touch of Greek architectural history here hold up the balcony, one on either side protruding from light bays, and the booths TO BOTTOM FACE OF PLY. BAR LIGHT TROUGH TO BOTTOM OF IBEAM TO BOTTOM OF IBEAM TO BOTTOM OF IBEAM C.L. C.L. LIGHT TROUGH WALL MATERIAL & FINISH TO BE DISCUSSED NOTE!! BAR STEPS RISERS AS LIGHT BOXES MEZZANINE & TILE WALL DET. # SHOWN UNDEVELOPED DET. # DET. # DET. # TO MEZZANINE FLOOR LINE I-BEAMS TO END IN AS CONCRETE WALLS BAR AREA WALLS AS CONCRETE SCENERY BEYOND SCENERY BEYOND SCENERY BEYOND OFF CAMERA OFF CAMERA OFF CAMERA SEE SHEET 4 SEE SHEET 4 SEE SHEET 4 SEE SHEET 4 SECTION/ELEV. SCALE: 1/4"= 1'-0" SCALE: 1/4"= 1'-0" SECTION C.L. ALL UPPER WALLS AS CONCRETE AS CONCRETE SEE SHEET 12 SEE SHEET 15 SEE SHEET 15 SEE SHEET 15 SEE SHEET 15 FINISH OF THESE WALLS TO BE DISCUSSED RAILING LIGHT LIGHT BOXES TO BO TTO M O F IBEA M DET. # DET. # CEILING/MEZZANINE AS METAL I-BEAM STRUCTURE STRUCTURE & PLYWOOD FLOOR ADD TO 7 1/8" TOTAL FINISH OF METAL BEAMS & SHEETS TO BE DISCUSSED SEE SHEET 5 NOTE!! AS CONCRETE NOTE!! F 3 E D 4 12 12 11 11 8'-9 1/2" 8'-9 1/2" 9'-3 1/2" 10'-3 1/2" 10'-3 1/2" 10'-3 1/2" 10'-10 5/8" 10'-10 5/8" 10'-10 5/8" 10'-10 5/8" 10'-10 5/8" 10'-10 5/8" 7'-6" 1'-6" 1'-6" 1'-6" 3'-0" 1 1/2" BASE TRIM BELOW TILES 4'-0" 4'-0" 4'-0" 3'-0" 3'-0" D. BLACK MASK CLUB. ELEVATIONS BY JULIEN POUGHNIER. E. JURNEE SMOLLETTT- BELL AS BLACK CANARY ON STAGE IN THE BLACK MASK CLUB. PHOTO BY CLAUDETTE BARIUS & © DC COMICS.© 2019 WBEI. F. BLACK MASK CLUB FIGURES. HEAR/SEE/SPEAK NO EVIL. ILLUSTRATION BY JOE STUDZINSKI. D E F