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 9 carousel. eeing these hands, rigged by special eff ects supervisor Mark awker, revolving and spring slapping in a fi ght scene was certainly cheeky, yet possibly topped by the fi ght scene with Mary Eliabeth Winstead, who played untress, umping from tongue to wagging tongue in another area. The safe house and funhouse were built on separate stages at Warner's but connected through fi lm magic by a trap door and a slide. The slide was confi gured and painted per Art Department specs, and rented in sections trucked from a water park vendor in Texas. We were delightfully surprised when during a stunt rehearsal, a stunt woman invented a move where untress spread-eagles against the round walls mid-slide to switch the advantage on a goon pursuing her. ften when fi ghts are written in a script, the design elements in play are not expressly laid out, so it's a process of constant and collaborative D to supply the team with inventive obstacles to interact with. All part of the fun. Funhouse Exterior: The exterior of the ooby Trap funhouse a named coined by the director's assistant Kelly yrne, and unanimously approved by everyone as in the spirit was created on location in oyle eights near downtown A, attached to a warehouse also used for the oller Derby scene. isual connective tissue was provided by a view from the safe house windows on stage, and a wide plate shot enhanced by visual eff ects showing its relationship to the lighthouse and the pier, and an exit that repeated the open mouth motif seen inside the funhouse. The head was sculpted in blocks off site by Kenneth Garrett. It was never seen completely assembled until it was in place on site. It was then distressed, seamed and painted. The Pier: reaking down the script, the logistical tasks become obvious. Always beware when there is D. SAFE HOUSE. ILLUSTRATION BY JOE STUDZINSKI. E. SAFE HOUSE. SET MODEL BY LUIS HOYOS. F. SAFE HOUSE. SET PHOTO. D E F