Issue link: http://digital.copcomm.com/i/1260764
6 8 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 0 Toronto area, the show's production hub. This often included amilton, Ontario, a nearby metropolis cut from the same cloth as Detroit and Gary, Indiana. nowing how important these location choices would be, a workfl ow was developed where location options moved exclusively through the Art Department. This allowed me to calibrate both the authenticity and creepiness of the world, and being from the idwest, to ensure everything felt right. e challenged ourselves to give traditionally ugly' and boring' locations more energy and electricity. The Athletes I've often heard that Friday Night Lights isn't about football, and in many ways, Dare Me isn't about cheerleading. ut where Friday Night Lights leaned into the heart of iddle America, Dare Me jumps headfi rst into its darkness. hen I pitched the job, I knew these girls were nothing like how cheerleaders were typically represented on screen. They were not objects. They were not idiots. They were athletes and warriors. They were tougher than the boys, and frankly, certainly weren't cheering for anyone but themselves. That said, they were extremely aware of their power, of what they looked like, and how they could weaponize the cheerleader stereotype. The tools of Production Design were used to highlight these core themes in Dare Me, manifesting with two overarching approaches for color. I really liked the idea that as the audience looked closer, the girls would start to reject the gazethat there was this Cindy Sherman and arbara ruger awareness in looking back. As such, as the camera got closer, I wanted the bright colors to turn ugly, toxic and disgusting. eauty up close can be abject. A zit covered in glitter. The show embraced a sickly- sweet palettecheesy orange, gummy bear cherry, acid green and radiation bluecolors that make one feel sticky and gross. Pink was banned. The bright ugly palette was used primarily for props and wardrobe, burgundy and royal blue permeated more of Sutton Grove itself, particularly the high school. ecause of Addy's loyalty to cheer, she was connected with the burgundy of Sutton Grove igh School. eth, the wild card, longing for escape in her A A. THE BLUE OF BETH'S WARDROBE IN CONTRAST WITH THE BURGUNDY OF THE HIGH SCHOOL GYM. PRODUCTION STILL. B. THE COLOR PALETTE WORKING TOGETHER. THE BLACK AND BURGUNDY OF THE CHEERLEADING UNIFORMS. THE DRAB MILITARY UNIFORMS AND THE POP OF CHEETOS ORANGE IN THE BACKGROUND. PRODUCTION STILL. C. BOYS LOCKER ROOM. INTEGRATED PRACTICAL LIGHTING GIVES THE SENSE OF BEING UNDERWATER. PRODUCTION STILL. D. SKETCHUP RENDERING SHOWING CONVERSION OF THE GIRLS LOCKER ROOM INTO THE BOYS. DRAWING BY LIANE PREVOST. E. MODEL RENDERING OF HIGH SCHOOL 'FISH BOWL' BY SHIRIN RASHID. B C D