Issue link: http://digital.copcomm.com/i/1260764
Many Hands Make Light Work Hunters was not the kind of show that came together easily and organically. Hunters worked because each and every person working on it was operating at their highest level, and were challenged on a daily basis to come up with their best. Navigating the different time periods was difficult enough, but the subject matter intensified everyone's efforts. e all owed a debt to those who we featured in the flashbacks and to the stories told in the show. None of the decisions in any department were taken lightly. In fact, each decision reuired an additional mental check to make certain the decisions were being made with the proper intentions and sensitivity to the stories we were telling. In the Art Department, we laid down a marker early on that everything on screen had to have a strong logic and reason for existing within this broad, colorful graphic novel universe. The team that built the show visually had one of the hardest jobs they had taken on. I remember early on when the first breakdown came from Lead Graphic Designer Loren ane. She had to print it on the large-format printer for us to understand that it was several times larger than anything she had taken on before. Set decorator Cathy arshall and I had become comfortable with the s during our collaboration on BlacKkKlansman, but adding the s and s to the euation complicated matters exponentially. She, and her incredible team, made each and every set make sense when nothing else seemed to Prop master Robert Currie had the same set of challenges procuring a vast uantity of period-correct elements on top of key custom fabrications, including the aforementioned cryptex, a bespoke secret box that sets the entire show in motion. Robert's work consistently displayed what sets him apart taste and class. Supervising Art Director arci udd and Art Director Rosa Callejas may have had it the hardest, thoughkeeping communication open between all these, and more, departments in addition to managing and overseeing the set builds and locations across all five boroughs of New York and beyond. They were also operating at their highest level, making sure everyone knew exactly what was expected for every day of the shoots. In the end, the complexity and difficulty and gravity of the project brought out our collective best as we rendered this varied universe physical, possible and believable for the audience to enjoy. ADG A B C A. JONAH HEIDELBAUM'S HOUSE. STEINER STUDIOS, BROOKLYN. THIS SET MATCHED A LOCATION IN THE BEDFORD STUYVESANT SECTION OF BROOKLYN. B. NAZI COLONEL'S APARTMENT. COLUMBUS CITIZENS FOUNDATION LOCATION, NYC. HEAVY ON THE BLOOD AND THE HUBRIS COLOR STORY HERE. C. FLORIDA APARTMENT: BEECHHURST, QUEENS, NY LOCATION. D. MEYER OFFERMAN'S HOUSE: THE ARK. VECTORWORKS MODEL. LISA MERIK, ASSISTANT ART DIRECTOR. THIS SET WAS INSPIRED BY WOOD SHIP FRAMING, AND DP FRED ELMES ENCOURAGED THE LOW CEILING. E. MEYER OFFERMAN'S HOUSE: THE ARK. PRODUCTION STILL. F. COMPILED NAZI GRAPHICS. G. KARL HOLSTEDDER'S RECORDING STUDIO. SET PHOTO. H. MINDY AND MURRAY MARKOWITZ'S APARTMENT, 1939. BUDAPEST, HUNGARY.