Issue link: http://digital.copcomm.com/i/1316563
in case the sun showed up at call, but the weather demanded the pre-painted canvas and it worked beautifully, with the rain and overcast sky adding a foreboding to the opening that was absolutely made to order. The script revisits Nory's room when she is older and developing her magical powers. To illustrate her creativity and uniqueness, we thought she would like to draw on her walls, including her headboard. Several of the walls were painted with chalkboard paint to help Nory tell her personal story. After Nory arrives at Sage Academy, she is labeled as having upside-down magic and is sent to the UDM classroom. The design for the classroom itself came from a conversation with the director where he asked if we could make it feel as if it smelled bad. Bills response: "Why yes Joe, visually, for sure we can." He wanted the space to feel like an underground bunker that no one would ever want to go into. Through a mold covered door, down a precarious staircase, the students would encounter a classroom built from concrete, with roots wrapping around the walls and strangling the life out of the environment. A small water sewer was added to the space, so the fl ickering light raked upon the walls would help suggest the "smelly environment" Joe requested. Bill had a great collaboration with director of photography Adam Santelli in creating the right emotional vibe. Light wells and grilled vents were incorporated to project light through and a gallery in the background suggested an endless set of tunnels beyond. C A. NORY'S BEDROOM. SET PHOTO. B. REINA'S DORM ROOM. SET PHOTO. C. UPSIDE-DOWN MAGIC CLASSROOM. DRAFTED ELEVATIONS BY PETER STRATFORD. A B