Issue link: http://digital.copcomm.com/i/1545081
Conceptually, I wanted this set to be manicured and manufactured, but still aspirational and charming, to communicate both nostalgia for a simpler time, but also to feel fresh and new and hopeful. Architecturally, I was inspired by the mid-century modern work of Cliff May, which manages to be beautiful, comfortable and familiar to our senior characters, but hopeful and forward- looking in its modernity and cleanliness. One of my guiding principles for the shoot, oft repeated around the Art Department was "NO RIFFRAFF"… which meant we prioritized the cleanest lines, no extra stuff, no adornment. It visually equated with the retirement community's need to not carry their personal baggage with them and to look not to the past, but to the hopeful horizon every day. Stage Build/House Interiors Three house interiors were built on stage, each with the same floor plan, with some alterations specific to the characters, mirroring each other to match the layout of the cul-de-sac. The interior materials were chosen based on the length of time each resident had lived in The Boroughs, creating a slightly different time period for each. For instance, Dee Wallace's character Grace is the A. RENDERING OF CUL-DE-SAC WITH LANDSCAPING AND VEHICLES. B. CUL-DE-SAC. PRODUCTION STILL. C. SAM'S HOUSE EXTERIOR ON BACKLOT CUL-DE-SAC. SET PHOTO. D. JACK'S HOUSE EXTERIOR ON BACKLOT CUL-DE-SAC. SET PHOTO. E. WALT'S HOUSE EXTERIOR ON BACKLOT CUL-DE-SAC. SET PHOTO. B A D C E F