Issue link: http://digital.copcomm.com/i/1512164
by warmer earth tones. David and his team did a tremendous job maintaining the integrity of these ideas throughout the film. Textures, layers and colors were never an afterthought. The production couldn't build most of the sets, so we modified existing locations. A great example of this is in the market scenes. David, Art Director Billy Ray and construction coordinator Carl Zeller had to turn over the market four times within three evenings. To do this efficiently, we devised a plan to build multiple layers within the store, strip them back and redress the location in the evenings. We repeated this approach with Richard and Judy's house as well. We designed removable wall paneling, carpets and décor, which allowed us to change this home interior quickly as we transitioned from their young days to parenthood. Early on, the production struggled to find a suitable contender for the location of the Frito-Lay factory and Pepsi-Co offices. Luckily, we stumbled across the old Albuquerque Journal building, and not only did it have ample factory floor space, it had an entire wing of quintessential 1980s offices and decor. The Journal floor was an old newspaper printing production and distributing site so we decided to embrace most of the old machinery, clean it, and tie it in with the production lines we would fabricate. The location was a homerun and the perfect aesthetic that Eva, Cabot and I had been hunting for. Once we secured the location, our Frito-Lay factory began coming to life. The crew put a majority of their effort into the factory build, the machinery and the mass quantities of product needed to fill the warehouse where roughly forty percent of the script took place. Despite the short prep schedule, appropriate production planning allowed us to push the factory to the last third of our shooting schedule. This gave us ample time to properly build, prep and test all the machines. While one crew was prepping the extensive location work, another was building/ dressing and prepping the factory. The factory was an essential part of Richard's story. It was where he learned discipline and developed the skills he would later apply to follow his dreams. The execution of this location was PERSPECTIVE RENDER PERSPECTIVE RENDER DIRECTOR: EVA LONGORIA DIRECTOR OF PHOTOGRAPHY: FEDERICO CANTINI PRODUCTION DESIGNER: BRANDON MENDEZ PRODUCTION DESIGNER: CABOT MCMULLEN ART DIRECTOR: BILLY W. RAY Dylan Kelling 1/2' = 1'-0" 6/7/21 06 FRITO LAY PLANT JOURNAL CENTER 127 6/21/21 REVISIONS 6/21/21 - SIMPLIFIED TO ONE SIZE DRUM AND ONE SET OF DRIVE WHEELS E. FRITO-LAY PLANT. GROUND PLAN. BY MARISA FRANTZ. F. FRITO-LAY PLANT. SKETCHUP MODEL RENDERED IN LUMION BY DYLAN KELLING. G. SORTER DRUM. CONSTRUCTION DETAILS. DRAWN BY DYLAN KELLING. H. THE FIRST HOT CHEETOS BAG FRESH OFF THE FACTORY FLOOR LINE. GIFTED TO MONTAÑEZ. PRODUCTION STILL. E F G H