Issue link: http://digital.copcomm.com/i/1381679
play out here. He needed a substantial house. While the scouts looked for an appropriate neo-classic exterior, I roughed out a plan with the director and the production's director of photography, Kevin McKnight. Anthony, Kevin and I often conferred about period styles, lighting, photography and important references to incorporate into the design scheme throughout the season. I quickly brought Danny and Kristie into these discussions so the drafting and decorating work could progress. The Art Department opened the stage at Eagle Rock Studios, and we were joined by Assistant Art Directors Carlton Lee Jr. and Kedra Dawkins, buyer Lindsay Alston, Graphic Artist Scott Kinney and the very able construction and dressing crews led by Jason Morgan, Shane Thomas and Mike Tanguay. A t r design n searate des r te ranlin house quickly took shape. CHURCH Sharing the center of Aretha's world was her faith and C.L.'s church, New Bethel Baptist in Detroit. A charming and cinematic 19th century Baptist church was found for this key, recurring location representing both C.L.'s livelihood and a solid rock in Aretha's turbulent life. GOSPEL Gospel music was the foundation of Aretha's talent and a vehicle for C.L.'s career. He steeped the family in it while expounding a progressive theology that formed Aretha's life-long activism. The design plan detailed C.L.'s bus tours and gospel shows where young Aretha cut her teeth. His roadshow ran through a string of '50s hotels and venues across the Midwest. There is powerful singing and preaching in C.L.'s gospel tent, a fun exemplar of the world Aretha was pushed into. The scenes required contributions F. FRANKLIN HOME, ENTRANCE HALL. PHOTO BY RICHARD DUCREE. G. FRANKLIN HOME, KITCHEN. PHOTO BY RICHARD DUCREE. H. EXTERIOR TENT GOSPEL CARAVAN BANNERS BY SCOTT KINNEY. I. ENTRANCE TO GOSPEL TENT. EXTERIOR SET AT EAGLE ROCK STUDIOS. PHOTO BY RICHARD DUCREE. F G H I