Issue link: http://digital.copcomm.com/i/1545081
inside a giant music box. Massive gears and belts would turn to motivate the mechanism that makes the marionette ascend to the stage above. It quickly became viewed as what we called the 'nerve center' of the pizzeria where everything would be controlled. I wanted an old school, very mechanical and clunky system where the scale was highly exaggerated. The set felt very confined and claustrophobic once the gears were installed and the giant gift box that housed the marionette was brought in. The set was also built on a 4-foot platform to accommodate puppeteers working under the set. The octagonal shaped set was designed to easily pull apart as needed to create plenty of room for shooting all the camera angles that director Emma Tammi and DP Lyn Moncrief wanted. We were also able to engineer it so that the walls could move and the gears would stay in place, or all could be pulled for certain shots. Because the space was written to be a looming mechanical and forgotten cage, it opened several design problems and opportunities. We needed to view the space from all angles, so we built the set within a steel frame to allow for all sides to wild. We attached the gears to a substructure independent from the wild walls. For the stage floor opening, the SFX team created a custom trap door mechanism that would shoot open safely for the amazing stunt team. The subterranean passageway leading to the music box room had an old-world feel to it. Let's not forget this is a horror movie and again this was another place to take license in creating exaggerated sets for visual and tonal impact. I was in Paris just before stating prep on Freddy's 2 and brought back inspiration from the catacombs and the famous Paris sewer system as a perfect look for this moment when Lisa, one of the ghost hunters played by McKenna Grace, descends the stairs to discover the odd out-of-place steel door leading into the music box chamber. The design for the pizzeria itself had many conceptual layers. This pizzeria predated the one from the first movie. So, essentially the setting for the first movie became a corporate franchised SCALE: 1/2" = 1'-0" LONGITUDINAL SECTION - INT MUSIC BOX A SPFX TO ADD DROPS & STEAM CUT TO DINING ROOM STAGE MCMASTER CARR GRATING 01 MCMASTER CARR GRATING ROUGH AS CONCRETE WALLS, SEE REF. +7" +3" 3/4" HALF ROUNDS, MATCH DTL ON SKY LIGHT IN FRANCHISE FREDDYS DTL AS ROUGH CONCRETE ARCHES 1 DTL 02 SPFX TO ADD DROPS & STEAM DTLS ON GIFT BOX LID OPENING TO FOLLOW ROUGH AS CONCRETE WALLS, SEE REF. AS CINDERBLOCK ALCOVE ROUGH AS CONCRETE WALLS, SEE REF. +7" McMASTER GRATING PLATFORM STRUCTURE PER CONST. COORD. ROUGH AS CONCRETE WALLS, SEE REF. AS CONCRETE SLAB 3 1/2" X 7" CROSS BEAMS GEAR DETAIL INFO TO FOLLOW AS CINDER BLOCK ALCOVE +0" AS BRICK 2 DTL DOORS TO PLAY CLOSED, CUT TO STAGE OPENING IN THE DINING ROOM 03 TUNNEL ACESS TO GIFT BOX 01 GRATING PLATFORM HIGHEST CLG. HT. 20'-0" 10'-0" 1ST LANDING +4'-0" +0'-0" STAGE FLOOR O 04 8'-0" 3" 7'-0" 1'-3" 8'-3" 10'-0" 14'-3" 1'-4 1/2" 8'-7 1/2" 6'-8 1/2" 7'-0 1/2" 6" RISER 1'-0" TREAD 12'-9" 12'-9" 15'-1" 15'-1" 4'-0" 7" 4'-0" 4'-0" 7"X7" UPPER PERIMETER I-BEAM 7"X7" LOWER DECK PERIMETER I-BEAM 3 1/2"X7" HORIZONTAL I-BEAM 3 1/2"X7" CROSS I-BEAMS 3 1/2"X7" CROSS I-BEAMS 16'-0" 4'-0" 7" 7" 3'-5" 5'-8 1/2" O.C. 5'-8 1/2" O.C. 1'-6" PANEL TO WILD FOR CREW ACCESS D. MUSIC BOX ROOM. STAGE SET. SET PHOTO. E. MUSIC BOX ROOM GEARS. SET PHOTO. F. MUSIC BOX ROOM. SECTION VIEW DRAWN BY JESSICA ALEJANDRA OCHOA. F D E