Issue link: http://digital.copcomm.com/i/1381679
that was hard. It was so hard that I still wear a bit of a nervous tick whenever I re-live the experience. I was also acutely aware of the fatal on-set train accident in Georgia a few years earlier and knew that fact would loom large over whatever plan the Art Department came up with. The production's assumption had been that the trains and underground tunnels would be built as a stage shoot. I knew that simply due to scale this wasn't possible unless the shoot was largely virtual, which is what Barry did NOT want. So, after months of consideration, I resolved that if I could not shoot on stage, nor on any public train lines, that I would have to construct the underground tunnel overground. To be realistic, given budget and time, I also realized I'd have to work on top of existing train track. Since moving trains around the country would be prohibitively expensive (not to mention that most period trains run on random gauges of track), it became clear that what was needed was a place that had period trains and private track. That narrowed the list of options pretty quickly. If we further divided that number by tax incentive states, that number got to fingers n ne and sie. ls n e ere tring to solve everything in Georgia, which left three options if we include the one over the Tennessee border. There is a train museum outside of Atlanta, but it did not have the trains, the track, nor the ereital t ll smeting lie tis . ere is an amazing train facility in Chattanooga, A. UNDERGROUND RAILROAD STATION. TENNESSEE. ILLUSTRATION. B. UNDERGROUND RAILROAD TUNNEL. NORTH CAROLINA. ILLUSTRATION BY HUGH SICOTTE. A B