Issue link: http://digital.copcomm.com/i/619377
Hannah Beachler, Production Designer Jesse Rosenthal, Art Director Duncan Smith, Assistant Art Director Scott Purcell, Mike Pantuso, Graphic Designers Nell Stifel, Charge Scenic Artist Krzysztof J. Bratun, Scenic Artist Foreman Gary Damian Thomas, Storyboard Artist Amanda Carroll, Set Decorator integrating the iconography from the first four films in such a way that it became part of a world whose existence was almost ghost-like, as it was passed on to a new generation. When I would drive around Philly, there was always a vantage point where you could see the smoke stacks of an abandoned factory being encroached upon by the new buildings of the downtown central business district. The city itself was a reminder that change was always just around the corner, even though the struggles were the same. Neighborhoods were being updated and renovated to accommodate young professionals, musicians, artists and families; in that juxtaposition was the spirit and foundation for the design of Creed. Our wonderful crew assembled. I was truly blessed with the likes of construction coordinator Paul Maiello, who can really do anything, and Charge Scenic Artist Nell Stifel, not to mention the fantastic team in the office: Graphic Designers Scott Purcell and Mike Pantuso, Assistant Art Director Duncan Smith, and at-the-ready Art Department coordinator Dave Kellom. I knew one thing to be true: winter was coming. We spent several weeks location scouting in and around Philly, in and out of snowstorms. Most of the locations were practical and augmented. The schedule was tight as well as the budget, but the department was up for the task. The bulk of the script took place in Philly with small portions happening in Los Angeles and Tijuana. Did I mention it was winter in Philadelphia? There were times we were at the mercy of the weather, grabbing a Los Angeles exterior on those days when the sun begrudgingly revealed its warm rays and melted the temporary world of snow, if only for a day or two. Clear weather also allowed set decorator Amanda Carroll and crew to make runs to New York City. Amidst the snow and intermittent sun, I delved into the world of boxing and one thing I learned was that, as with any sport, it's all about the branding. Three- time ABA heavyweight champion Tony Bellew, WBO light middleweight champion Gabriel Rosado and WBA middleweight champion Andre Ward played boxers in the film and they were great. Observing and talking to them really helped me understand this world, the small group of people boxers are almost always surrounded by, and the roles of their sponsors, Above: A hand-drawn detail and elevation of the Creed mansion gate by Jesse Rosenthal. Below, left to right: Apollo Creed's trophy room in his mansion is meant to be in Baldwin Hills, Los Angeles (the Black Beverly Hills), and it needed to feel untouched since his passing, with the original furnishings and all of his belts and trophies in it. The driveway for this Philadelphia location was really long (300 yards) with an electric gate at the end that didn't really look like it was part of the house. To suggest Baldwin Hills, a new gate was placed closer to the home to appear as though it's right off the street. promoters and managers. All of these people became a part of the film's world, which in turn informed each of their environments. The gyms were very important to both Ryan and I; we wanted each of them to have its own look and to say something about where each fighter was in his career, what was important to those fighters and the difference in boxing technology, again juxtaposing the old and the new. The exterior of the original Mighty Mick's Gym, seen in all of the Rocky films, was updated with a new sign using the black- and-gold colors from Rocky's shorts in Rocky II and VI (yellow in the boxing world is gold, never yellow). We kept the original sign, now hung in the interior of the gym, which has been taken over by a young trainer, the iconic sign a ghost watching over a new generation. And on we went through to the end of principal photography, snow and all, shadow boxing our way through. It's not every day that one gets the opportunity to be a part of a continuing story that has become part of American iconography. I certainly never thought in a million years that I would. ADG