Issue link: http://digital.copcomm.com/i/1260764
B hen the camera went wide, the city needed to feel vacant, as if it was once larger than it is today. This hollowness and depth became a core visual theme for the team, as it reflected the loneliness that all the characters were battling, and it emphasized the mysterious tension bubbling beneath the surface. As such, photographer Gregory Crewdson was a key reference for the production, for locations and eventually lighting, together creating an eerie tone that was at once beautiful, noir and unsettling. e wanted the audience to always feel that something terrible was about to happen. ith Steph Green at the helm as the pilot director, the narrative of the pilot was explored by mapping out where key plot points needed to happen within Sutton Grove. This culminated in an imaginary drive' through the city that placed the outdated Sutton Grove igh School near downtown, Coach's house within the s original suburbs, and Lanver's Peak with a bird's-eye overlook of the entire valley. All the pilot locations were plotted along this drive, giving a logic to the city, and most importantly, orienting our characters socially, economically and thematically. As new locations emerged over the course of the season, they were uickly placed within this fictional city, helping determine where to look for them within the C. RESEARCH IMAGE. UNTITLED (SLEEP WALKER) FROM TWILIGHT, 1999, GREGORY CREWDSON. D. PRODUCTION STILL SHOWING HOW THE RESEARCH MANIFESTED ON SCREEN. AND IMAGE FROM THE PILOT, LIGHTING AND FRAMING BY DP ZOE WHITE. C D B