Issue link: http://digital.copcomm.com/i/1316563
the bridge on stage, that the painted exterior of the ship was now so etched from weather that the surface reacted to rain in a very diff erent way than could be simulated with new paint. As the painters had matched the existing color, the museum staff let us repaint and age the exterior of the actual bridge to bring it in line with the set. This ensured no drastic diff erences when shooting jumped between the two locations. One important feature of the ship that was needed badly but which had not been completely restored by the museum, were all the anti-aircraft and 5-inch guns. Special eff ects worked with the ship's crew on a number of these to get their mechanisms moving, so that even though there would be no munitions fl ying out at the Baton Rouge Convention Center off the starboard side, at least with the addition of CGI, they would look to be operating convincingly in battle. Ed Borasch, the prop master, provided all the reproduction depth charges and many munition casings that the sailors would be handling during the action seuences. In conjunction with Graphic Artist Ben Wolcott, he also provided all the charts and paperwork seen throughout the story, not to mention the innumerable sandwiches delivered to Krause but left uneaten as he attended to some new emergency. I was assured it was not always the same sandwich. The early scene set in an upscale San Francisco hotel was one of the few moments I did not need to stick with our grey palette. It was set at Christmas, so it gave us opportunity to have a warm scene before the contrast of all the cold ones to follow. Shot in the main lobby of the Louisiana State Capitol, it was the largest public space of the correct period in Baton Rouge. A beautiful art deco-styled hall sporting original murals on the end walls and ceiling, it had only a few incorrect elements to hide, namely four larger-than-life statues made, of course, from pure white marble. At least they were symmetrically placed, which made the covers less obtrusive in the overall scheme. A full bar and restaurant were added to one end, along with hotel desks and Christmas decorations. There are a few naval references in the layout and decoration, which are left for the audience to discover. No good location comes without a drawback though. The Louisiana Legislature was in session, so all work was reduced to a single weekend and the scenic elements had to break down into multiple units shorter than fi ve feet and load in through one passenger-sized elevator. Details, details, details… This project handed all involved a full plate of challenges to solve in a very short amount of time. With everyone's contributions, I think we managed to address them all successfully. In spite of being cold, wet and grey, or rather because of it being cold, wet and grey, I think it makes for a realistic, exciting fi lm to watch. ADG David Crank, Production Designer Tom Frohling, Supervising Art Director Lauren Rosenbloom, Art Director Tristan Bourne, Cosmas Demetriou, Brian Waits, Set Designers Ben Wolcott, Graphic Artist Leonard Spears, Set Decorator E. CAPTAIN'S QUARTERS. PHOTO COURTESY OF APPLE. E