Issue link: http://digital.copcomm.com/i/619377
84 P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 6 the photos like the bull and Steiff lion, some records, some books. I knew that Patricia and her team were not going to have the time to go after everything with the short prep time they had, so I pulled what I could of the items that really stood out in the photos. When it was time to paint the set, Anton wanted something bolder and more stylish than what it really had been. I picked a deep blue and the scenic paint department aged it down to look lived in. We were able to get clearance to use some of the artwork in his apartment (the Brueghel, Gjon Milli photo, Marcus Winslow's childhood drawings). But for the ones that couldn't be identified, the Scenic paint department created originals inspired by the ones in the photos. For the exterior translight, I had taken photos out of the actual apartment windows. But, there were trees in the way that weren't there fifty years ago and the location that we shot for the exterior in Toronto did not resemble the street on the Upper West Side. Toronto doesn't have brownstones so we used the bottom half of some Victorian homes as the exterior. Graphic Designer Arlene Lott did a beautiful job creating the translight for this set by piecing together images from an image bank the production had subscribed to and using reference photos I had taken from Dean's rooftop in New York. She wound up spending days marrying images of rooftops and water towers with the top half of some Manhattan buildings combined with the middle of the Toronto street set. The most complicated set was going to be Times Square and the Astor Theatre. The producers started off wanting us to use a real theatre but that wasn't working. On top of owning the theatre exterior, we were going to need over one hundred feet of street to achieve the famous shot. With no real location proving suitable, the producers gave the go-ahead to build it. We built the Astor Theatre in a blue screen environment, along with forty feet of fencing, sidewalk and scenic-ed street, which were used for both the Times Square wide shot and the East of Eden premiere. SketchUp ® and Artemis helped Art Director Kimberley Zaharko and I figure out placement for both pieces of the set within the studio. For the visual effects extensions, we provided Method Studios with a map and measurements of Times Square in 1955, together with images of all its buildings at that time so they could create that scene within their own limited schedule. The production finally moved to Los Angeles, shooting in and around the Chateau Marmont and Pantages Theatre. Art Director Cate Bangs managed to put a dream team together in a short amount of time and, with set decorator Sophie Neudorfer, we started pulling together this part of the shoot two weeks before Anton arrived. Graphic Designer Benjamin Nowicki did a beautiful job creating theatre posters for a famous