Issue link: http://digital.copcomm.com/i/1512164
Lastly, Jacqueline West, the costume designer, and I have worked together on nine films now, and she continues to help me in brilliant ways. We share research and often work intuitively together. Great security comes from established relationships. It's fortunate that Marty wanted to shoot in Oklahoma—the history in that place kept reminding us of the horrors of the Osage story, a hundred years after the events depicted in the film. It also allowed us to work closely with Osage artists, like Addie Roanhorse, the great- great-granddaughter of Henry Roan (killed by Hale), who was an Assistant Art Director on the film, and TJ Redcorn, who worked as a PA in the Art Department. TJ's grandfather, Charles H. Red Corn, wrote A Pipe for February, a novel Marty loved, which inspired the opening shots of the Osage spiritual leaders and elders, in 1904, burying the Sacred Pipe to put away its teachings. The world was changing. We were given so much grace by the Osage that faithfully telling their story was not simply a responsibility, but an honor. ADG G. GUTHRIE COUNTY JAIL. PRODUCTION STILL BY MELINDA SUE GORDON/ APPLE TV+. H. FAIRFAX MAIN STREET CONSTRUCTED IN PAWHUSKA. CGI EXTENSIONS REPLACED BLUE SCREENS AT EACH END. PRODUCTION STILL BY MELINDA SUE GORDON/ APPLE TV+. Jack Fisk, Production Designer Meghan McClure, Matthew Gatlin, Michael Diner, Super vising Art Directors Spencer Davison, Landon Lott (2nd unit) Art Directors Gar y McMonnies, Addie Roanhorse, Assistant Art Directors Sarah Forrest, Br yan Lane, Cierra Madison, Ron Mason, Brian Waits, Set Designers Landon Lott, Illustrator Karen TenEyck, Graphic Designer Adam Willis, Set Decorator F G H