Issue link: http://digital.copcomm.com/i/1332040
Everything under the marquee was repainted and two period poster boxes were added. Here was a place where the director and DP helped me save money. Initially, we were going to use the theatre on the Warner lot and it would have cost the Art Department considerably more. The Orpheum also has gorgeous brass doors, a condition that doesn't exist at Warner. Sylvie meets the love of her life while working in her father's record store. I wanted to completely wash the interior in a very romantic orange with glossy black trim, and I wanted the exterior to be black and white. It was the gifted Graphic Artist Christina Myal that designed the piano key motif above the front windows. Graphics on a period piece are a texture that fi nishes it all off , like accent beats in music. The same is true for the texture of props, and the record store was a place where props and graphics had to work together on the records in the bins. I was very fortunate to have Steve Rick as the property master. He is a period expert, resourceful and was able to make great deals because of his relationships. The record store was on the Paramount backlot. The crew had to completely modify the interior. This was the beginning of the built sets. The Art Department had saved enough money on all the locations to build all we needed, and so we packed one sound stage with six sets that shot at the very end of the schedule. The sets on stage were a Plaza Hotel room with 1-foot-tall walls to allow lots of low angels and not build a ceiling. No one missed the ceiling. Particularly lighting. There were two dressing rooms, a larger one and a smaller one. There was the basement of the record store, with a scene on the stairs. Windows were appropriately placed along the stairs, to provide key lighting. I started out as a theatrical lighting designer and I'm always trying to give a DP what I know they need, great backlight. The last two built sets were my favorites. These were the two kitchens for the cooking show that Sylvie works on. For the 1957 kitchen, I did a bright canary yellow with no trim and the 1962 kitchen, I went with a bold swathe of turquoise and a dash of white on the knobs. Both A. TV STATION INTERIOR. SET PHOTO. B. TV STATION LOGO. GRAPHIC LAYOUT. C. TAR BEACH RESHOOT AT VENICE BEACH. SET PHOTO. D. COOKING SHOW LOGO. GRAPHIC LAYOUT. E. COOKING SHOW SET. PLAN AND ELEVATIONS. F. COOKING SHOW SET. PRODUCTION STILL. A B C