Issue link: http://digital.copcomm.com/i/610353
64 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 5 Johnson, Ralph Coleman and I had numerous meetings with various departments of the Dodger organization, showing them how the stunts and filmed sequences would work, and just how integral the Dodger story line was to the success of the film. After several weeks of negotiations with both the team and MLB, to clear copyright issues, and of course, a beautifully written impassioned plea from Billy, the Dodgers said yes. Two perfect-weather days of filming were required with a helicopter and five hundred extras. A combination of digital and physical modifications was set in motion, including getting the field ready months prior to the season. The Stadium had been renovated in 2005, significantly altering several filming areas including the men's restrooms, which were needed for a chase sequence. Since the film was also filming at Santa Anita Park, an older restroom at the racetrack was used that looked like pre-renovation Dodger Stadium. The two locations were married with graphics, matching floor tile, paint and dressing. Billy had written several scenes for the Short Stop Bar, a Dodger fan/Dodger player sports bar near Chavez Ravine. Again, wanting the neo-noir LA connection, I pitched redressing the downtown institution Cole's to be a sports bar, as the geography was great and I knew we could make the sports memorabilia and Dodger details just right. I scheduled a scout there along with several locations on the first official director's scout with Billy, cinematographer Danny Moder, Jeremiah Samuels and Ralph Coleman. Cole's was slated for around 11 AM. The scene that would be filmed at this location involved several characters sitting at the bar discussing Dodger players and listing four of them, including Orel Hershiser. We fell behind on the scouting itinerary, and then went to lunch prior to Cole's. When we finally did make it to Cole's about three hours later, Billy got a very funny look on his face. Sitting inside at the bar of the very location where we were to have characters discussing Dodger players, was Orel Hershiser and his wife. We were all pretty dumbfounded, and Billy declared that I had arranged it in order to sell the location. Needless to say, we filmed there. The Art Department started R&D on materials that could emulate large panels of marble. I wanted the wall panels to be very polished, smooth and reflective, and yet have the depth of age and wear. I also wanted large sections of wood paneling, yet could not afford to construct and wood-grain the area needed make a consistent look. I selected a slightly pitted-sheet laminate from Formica for the marble, and a dimensional paper from Astek, and added scenic and wax treatments. Danny Moder and I did tests with the two materials, and found that by tinting waxing and polishing, we could achieve a realistic look. The Sunset Gower stage could only accommodate the DA investigators' bullpen, attached private offices, stairs and hallway, and a DA office suite in the far corner of the stage. To accommodate all these spaces and still have a workable city view beyond, Phil Greenstreet at Roscoe shot and helped create an original two-sided Above: A redress of Cole's restaurant in downtown Los Angeles served as a Dodgers- themed sports bar. Right, top to bottom: Trick dumpsters were fabricated from scratch to include fold-down sides for camera angles, and built to proportions and with hand and footholds to aid Julia Roberts into the dumpster in any of the several ways she chose during the scene. The Downtown Metro station dressed for circa 2002, a few months post-9/11. Metro Alert signage was created by Graphic Designer Martin Charles. A downtown Los Angeles mural in the style of circa late 1990s, painted by Scenic Artist/Muralist Gabrielle McKenna- Elliott from Mr. Coates' initial design.