Issue link: http://digital.copcomm.com/i/1545081
E U P H O R I A S E A S O N 3 | P E R S P E C T I V E 5 9 Nate and Cassie's Wedding For the wedding ceremony in Episode 3, we shot at the Langham Huntington Hotel in Pasadena. The reception, however, was a stage set on Stage 21—a Spanish Revival–inspired interior painted in warm caramel. Custom pink and blush-toned carpet designed by Graphic Designer Miguel Rosero anchored the space. Flowers were a major motif across both sets, and the production spent a small fortune on florals. The color scheme— inspired by the pink colors of a shrimp cocktail —was so specific and the volume so enormous that it created an actual shortage of pink flowers in California. RELEASED: 4/17/25 LauriesBasementInt_DWG_179_s06_250417_REL_ForcedPerspTunnel_ja.pdf 179 06 LauriesBasementInt_DWG_179_250415_WIP_ForcedPerspTunnel_ja.vwx JAMES ADDINK WARNER BROTHERS STAGE 15 4/17/2025 12:31:23 PM 3/4" = 1'-0" PLAN 3'-6" MAXIMUM SPACE BETWEEN POSTS 1'-4 1/8" 1" 8" 1'-0" 1'-6" 1'-9" 2'-0" 3'-0" 4'-0" 6'-0" 20'-0" EXTENT OF SET 30'-0" VANISHING POINT 1" 1 1/4" 1 1/4" 1 1/2" 1 3/4" 2" 2 1/2" 3 1/2" 3 1/2" 2'-4" 2'-9 5/8" 4'-6" 1'-11 3/4" 1'-9" 1'-6 1/2" 1'-2 1/2" 1'-0" 10" 3'-4" 20'-0" 7'-0" MAXIMUM BEAM HEIGHT 6'-0" MINIMUM BEAM HEIGHT 5'-0" EYE LINE VANISHING POINT 3 1/2" 2 1/2" 2" 1 1/2" 1 1/4" 1 1/4" 1" 2'-4 1/4" 2'-1 1/4" 2'-7 5/8" 2'-10 5/8" 3'-5 1/8" 3'-10 1/8" 4'-5" 5'-6 1/8" 4'-0" MAX HEIGHT OF PLYWOOD 1'-4" MAX PLYWOOD 2'-0" MIN BEAM HT 2'-4" MAX BEAM HT 1 3/4" 2" 2 1/8" 2 1/2" 2 3/4" 3 1/8" 3 5/8" 4 3/8" 5 1/2" 3 1/2" 7'-3 1/2" 1 7/8" DISCUSS TERMINUS - POSSIBLE BACKING CONTINUING TUNNEL DISCUSS TERMINUS - POSSIBLE BACKING CONTINUING TUNNEL DIRT FLOOR UNEVEN SURFACE BUILD UP AS REQ'D DISCUSS WITH ART DIR TUNNEL TEXTURE TO MATCH EXISTING TUNNELS FROM SET #182 CORRUGATED METAL DISTRESSED PLYWOOD - TYP CORRRUGATED METAL - DISCUSS WITH ART DIR CORRUGATED METAL EARTH FINISH AS SEL. SEE SET 182 SHEET 02 FOR REFERENCE OPENING IN LAURIE'S BASEMENT - EXISTING WALL OPENING IN LAURE'S BASEMENT - EXISTING WALL 9A 9C STRING LIGHTS BY SET DEC (3D PRINTED TO REDUCE IN SIZE) ARCHES CENTERED ON CENTERLINE AND PERPENDICULAR TO CENTERLINE UNLESS OTHERWISE NOTED ARCH OFFSET FROM CENTERLINE 1x10 BOARDS RUN PERPENDICULAR OVER BEAMS BOARDS OVERLAP EACH OTHER SIMILAR TO SET 182 SECTION 9D 5 1/2" 9 3/4" 7'-3 1/2" 9D CHANNEL TO CARRY PIPES TO MATCH SET 182 2x6 VERTICALS PLYWOOD CAP 1x10s LAID FLAT TAPERED TO VANISHING POINT CHANNEL TO CARRY PIPES TAPERS TO VANISHING POINT 9B LAURIE'S BASEMENT SIDE LAURIE'S BASEMENT SIDE OPEN TO LAURIE'S BASEMENT FULL SCALE CORRUGATED METAL REDUCED SCALE CORRUGATED METAL SEE ART DIRECTOR Cassie's Dream Sequence This was perhaps the most imaginative and technically challenging sequence of the entire series, made all the more daunting by Sam's mantra: no CGI. So, we built it all. Illustrator Kristian Llana created detailed illustrations of each key frame of the "Giant Cassie" sequence in Blender 3D, rendered to include direction for the dusk lighting that I designed working with Marcell Rév. We then engaged John Merritt Productions in Burbank six months before shooting to construct the miniatures—the iconic Eastern Columbia Building, the Orpheum rooftop sign (lit up with thousands of tiny incandescent bulbs), a handful of skyscrapers, a tractor- trailer rig that Cassie picks up, the Hollywood sign, and a destroyed Hollywood landscape of crumbled buildings. The sequence begins with Cassie growing—à la Attack of the 50 Foot Woman (1958)—and continues with her rampaging through the city. We built D. LAURIE'S BASEMENT- FORCED PERSPECTIVE TUNNEL. DETAIL OF CONSTRUCTION DRAWING BY JAMES ADDINK. E. LAURIE'S BASEMENT BUILT ON STAGE 15 AT WARNER BROS. (AND MOVED TO LAURIE'S UNDERGROUND DRUG LAB ON STAGE 28) - FORCED PERSPECTIVE TUNNEL. SET PHOTO. F. THE LOCATION FOR NATE AND CASSIE'S HOUSE WAS A 5,000 SF HOUSE IN LAKEWOOD. SET PHOTO. G. NATE AND CASSIE'S HOUSE. KITCHEN. SET PHOTO. H. NATE AND CASSIE'S WEDDING. SET PHOTO. D F G H E