Issue link: http://digital.copcomm.com/i/1512164
principal photography was completed, we would either paint the other two sides the same color or repaint the house the original white. Only one homeowner chose to go back to white. Supervising Art Director Meghan McClure and a crew moved over to rebuild the small town of Ralston once they completed Pawhuska, and she represented the Art Department through post- production. Supervising Art Director Matt Gatlin put together the original Art Department and budget, and he oversaw the work in Bartlesville. Supervising Art Director Michael Diner covered the work in Fairfax. While scouting locations with Mike Fantasia, the supervising location manager, we came upon a craftsman house in Fairfax closely resembling the original home of Mollie's sister Reta Smith, where she was killed in an explosion. I asked Mike, as he was off to negotiate the rental with the two sisters to ask them if we could blow it up! When he came back, he exclaimed—they said yes! Their Osage grandfather lived in the house and was married to a white woman who was also his guardian, spent his money and made his life miserable. They were happy to see bad memories go with the house. To build the 1920s federal courthouse, the production used an abandoned Baptist Church in Pawhuska. Art Director Spencer Davison creatively modeled the courtroom to fit inside the church, utilizing the existing ceiling and establishing levels inside the building where Rodrigo could pump in light. Hale lived in multiple homes in Fairfax and had a small one-story structure for himself on his E F G H I