Issue link: http://digital.copcomm.com/i/1332040
kitchens had matching islands and were so antiseptically clean looking, a housewife watching could never achieve this. The other built sets and some old drops were positioned around the kitchens, to look like other sets for the TV station. In the end, when doing period on a shoestring, one must pick a location by how much production value it gives the fi lm. Then there's due diligence on the cost of the designs, building only what is absolutely necessary. And for the sets that are built, the Art Director needs to stay on top of that building and makes sure questions are answered immediately. Having done all that well enabled the Sylvie Art Department to absorb two additional sets thrown at us just before the fi lm was fi nished this happens all the time. We designed a tiny recording studio that is supposed to be at Hitsville USA. The other last- minute set was comical. We needed to reshoot a daytime close-up on the roof. That's right, the roof. Here's the funniest part, it was done on the day the production shot at Venice Beach. Tar beach at the beach. Locations got space in the parking lot alongside the beach for this "roof shoot." Once again, the low-budget angels were watching over. The scene shop had saved the parapet sections. I only needed twenty-four running feet. On the morning the parapets were set up, tarpapered and painted, the FilmLA site rep told the crew we weren't permitted to shoot in the parking lot, just the beach. So we moved tar beach onto the actual beach. We couldn't have functioned so effi ciently on the budget we had, without the remarkable Art Department coordinator, Hsanni "T" Henry, the glue that held us all together. Again, thanks T A period fi lm on this budget couldn't be done without an a team fi ring on all cylinders, and enormous support from the producers, Nnamdi Asomugha, John T. Baker, Gabrielle Glore, Matt Thurm and Bobbi Sue Luther. I recently spoke with one of these producers who said the fi lm really looks amazing. Beautiful colors that enhance the romance of the story. They said during the making, they never heard of any problems or complaints from the Art Department. They also said it was truly remarkable we didn't go over budget. It's not enough to make it look good, it's also about being able to come in on budget. ADG Mayne Berke, Production Designer Zack Gonchor, Art Director Adam Mull, Set Designer Christina Myal, Graphic Artist Kelley Pearce, Set Decorator D E F