ADG Perspective

November-December 2020

Issue link: http://digital.copcomm.com/i/1316563

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5 0 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 0 When the two women's lives intersect, so do their daughters', each pining for the other's lifestyle. Mia's daughter, Pearl, longs for the routine and comfort of sit-down dinners and family routine. Elena's daughter, Izzy, longs for freedom of expression and lack of rigidity. The fi rst time each daughter enters the other's home, there is a sense of wonder and awe, which hints at the confl ict to follow. For Pearl, she is taken by the grand staircase with family photos adorning the walls— each perfect, inviting room leading into perfect inviting room. For Izzy, there is a warmth and ease in the informality and artistic expression that Mia has built her home around. In both cases, there needed to be a depth to each home, as so much of the series takes place in these spaces. Many hours were spent with Art Director Brian Grego, rotating and shifting SketchUp models of the these sets to best utilize the stage space. Each daughter needed to be able to get a sense of the entire home from the entry point. In Elena's house, the fi rst fl oor was built around a grid so that in every room, there was a view to at least two more main spaces. In Mia's apartment, the depth was achieved through a long hallway that reached from one end of the home to the other in a single shot. After scouting Shaker Heights early in preproduction, one of the fi rst challenges began when the decision was made to cancel all shooting in Ohio. While I have spent my career working in LA, creating the East Coast on the West Coast, for this show, we would have to take a journey through all four seasons. The exteriors had to be able to go from warm, sun-drenched summer to snowy, gray winter. Location mangers Veronique Vowell and Jason Kaplon looked for locations that had evergreens or hedges that would have foliage year round and would not fi ght with a well-placed snow blanket. The greens department built many versions of autumn trees to add into existing lawns and brought bags upon bags of leaves to A B +7" +14" +21" +28" +35" +42" +49" +56" +63" +70" +77" +84" +91" +98" +105" +112" +119" +126" 1 2 3 1 INT RICHARDSON HOUSE : DETAIL—STAIRS Scale :3/4"=1'-0" 101 2 INT RICHARDSON HOUSE : DETAIL—STAIRS Scale :3/4"=1'-0" 101 2'-0" 4'-0" 6'-0" 4'-0" 10'-0" 7 3 8 " 1'-2 5 8 " 4'-0" R 7 3 8 " R 4'-0" R 8'-0" 3 3 4 " 3 3 4 " 7" 10'-6" 1'-2" 36" here is a typical typical typical typical step step step step. outer face... inner face... 2" o.c. this is looking looking out from the landing landing... it's kind of a weird view, but i thought thought it helped helped. HANDRAIL STYLE 6900P-O with 6007-O (bottom cap) BENDING RAIL LJ-6900B (red oak) *revised profile HANDRAIL STAIN BALUSTERS PAINT TREADS STAIN RISES (faces) PAINT STAIR NOSING el&el #909-OAK wrap wrap side, self-die at back edge edge back edge back ... 8" 11" 2'-8" 3'-0" 3'-6" 3" 1'-0 1 2 " 3" 1'-0 1 2 " 3" 1'-6" 3" 3" 3" LOWER FACE of STAIRS, DEVELOPED PANELS to match all the other panels panels panels panels panels panels about an 8" throat (so about 11" drop) maybe adjust baulsters baulsters to fit volute... STAINED NOSING, continues along along face 3'-10" R 1'-0 3 8 " R 7 3 8 " 11 1 2 " maybe a full-size print of this landing landing and a typical typical step step... here's a shitty 3D view what the hell, sometimes that helps helps. ARCH CASING dies into this step step NOSING WRAPS FACE, DIES INTO FRAME OF ARCH RIGHT HAND CLIMBING VOLUTE LJ-7936-O (red oak) *revised profile profile RIGHT HAND 2-RISE GOOSENECK S-7976-O (red oak) *revised profile profile with this molding molding up up here. advanced foam SC234 SC234 11" 11" Half-Newel LJ-4600 1/2-B ("B"=beech, but can be any any wood any wood any , will be painted) painted) this edge edge is #909, inverted, PAINTED should give give give a good good bed to catch the panel panel panel, base... 3" 6" 3" pad or something decorative, like an egg-and-dart egg-and-dart thingie thingie 342-MUL-6 3 INT RICHARDSON HOUSE : DETAIL—STAIRS Scale :3/4"=1'-0" 101 (gooseneck (gooseneck (gooseneck (gooseneck (gooseneck (gooseneck (gooseneck happens happens here) i tell you what, sonny jim sonny jim sonny ... if I if I if knew how to make THIS work work i would BE a construction coordinator... #InJeffWeTrust STEPS OAK PLY PLY PLY PLY PLY BALUSTER LJ Smith Stair Systems blocks align with tread balusters each step needs (1) 36" & (1) 39" (50) S-5105-PRG 36, paint grade primed (17) S-5105-PRG 39, paint grade primed *exact numbers provided, order extra *note revised numbers for 1¾" balusters 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 39" 39" 39" 39" 39" 39" 39" 39" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 36" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" 39" B A. ELENA'S HOUSE, ENTRY STAIRCASE. CONSTRUCTION DETAIL BY SET DESIGNER ARTHUR CHADWICK IN VECTORWORKS. B. ELENA'S HOUSE, STAINED-GLASS LAYOUT BY ARTHUR CHADWICK AND STEVEN MILOSAVLESKI. CUSTOM STAINED GLASS DESIGNED TO MATCH THE EXTERIOR LOCATION. THE TEXTURE OF THE GLASS WAS METICULOUSLY TWEAKED TO THE DP'S SATISFACTION FOR BACKING OBFUSCATION. C. ELENA'S HOUSE FIRST FLOOR. SKETCHUP MODEL BY ART DIRECTOR BRIAN GREGO. D. EXTERIOR OF ELENA'S HOUSE. SHOT IN HANCOCK PARK IN OCTOBER WITH SPECIAL EFFECTS SNOW. SET PHOTO. E. ELENA'S HOUSE, LIVING ROOM. SET PHOTO. F. ELENA'S HOUSE, DINING ROOM. SET PHOTO. C

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