Issue link: http://digital.copcomm.com/i/1241865
4 8 P E R S P E C T I V E | M A Y / J U N E 2 0 2 0 where arley retreats from danger, but trouble follows her and it sets the stage for the female characters to come together above the funhouse. It also overlooked the exterior fairground amusements and was a few blocks away from the pier. This set was drafted in pencil by uis oyos and a white model was revised a number of times before landing on the exact confi guration. It ended up being a complicated build with round windows and back bending ceiling panels, a trap door and a wild paint scheme. The walls were built to y, adding to the diffi culty, but they never needed to thanks to careful planning and lensing the scale with Matty ibatiue. I like the combination of digital and pencil designers on a proect, and to build physical models as much as possible. The funhouse was tricky because of the number of stunts involved and a 360-degree approach to the camera movement. This set was white modeled and was a design offi ce centerpiece where visitors from other departments could get their head around what the Art Department was trying to achieve in that space. This took into account camera where do you hide a crane in a 360-degree stage-wall to stage-wall set? and stunt choreography. At the cast and crew screening, urnee mollett-ell, who played anary, humorously reminded me of the torture she went through on the teeter-tilting oors. Each area had to seem dangerous yet be safe for the actors, who each went through training and did some of their own stunts. The model was ever evolving as the diff erent ones were worked out for engineering and choreography. The hands of oppression from the nightclub were again used in diff erent form and pop art images of femme fatales were applied in the funhouse perimeter, with the hands cast of foam on springs being at the center of the A. AMUSEMENT PARK. ILLUSTRATION BY JOE STUDZINSKI. B. FUNHOUSE ENTRANCE. ELEVATION. C. FUNHOUSE ENTRANCE. SET PHOTO. A B C