Issue link: http://digital.copcomm.com/i/1316563
The USS Kidd held its own issues that needed solutions. Most of it was spot-on for fi lming since it had already been returned to its WWII look. Though unable to leave its mooring, the ship was to be shot extensively from all angles for use in the CGI portions which would place the ship on the open sea, so the production tried to correct as much on deck as made sense for this purpose. There were the usual suspects to remove such as modern museum signage and modern safety equipment. The warships of that time had very elaborate patterns of anti-skid tape added to the decks which created long walkways for safety, the entire length of the ship. Most of these pathways were missing, so we reapplied them. Their addition seemed a small touch until they were in place again. The museum recognized the importance of their look and purpose and kept them after fi lming. The Kidd's wardroom was in the process of being renovated as preproduction started, so we assisted the volunteer crew in fi nishing it, repainting and aging the room after all the structural repairs were done. This room often doubled as a temporary operating room, and they are fortunate to still have the original long table and lighting instruments which mirror that of a medical setup. It became clear while doing the painting samples for the exterior set walls of A. SAN FRANCISCO HOTEL LOBBY STATUE COVER. CONSTRUCTION DETAIL DRAWN IN RHINO BY COSMAS DEMETRIOU. B. SAN FRANCISCO HOTEL LOBBY. WATERCOLOR AND INK SKETCH BY DAVID CRANK. C. STATUE COVER FINISHED IN SHOP BEFORE INSTALLATION IN LOUISIANA STATE CAPITOL. D. HOTEL BAR BEING DRESSED WITH ONE OF FOUR STATUE COVERS IN BACKGROUND. SET PHOTO. A C D B