Issue link: http://digital.copcomm.com/i/686925
P E R S P E C T I V E | J U LY / AU G U S T 2 0 1 6 31 by Derrick Hinman, Production Designer "Just make it badass..." said director Darren Bousman. Entrusted with the unbelievable challenge of making The Devil's Carnival believable within the realm of the unbelievable, I embarked on what soon became one of the most ambitious experiences of my film career. My association with the first film began during the holiday season of 2011 with a conversation during a road trip with my father, which became the catalyst for a journey on an extraordinary two- film odyssey. This particular conversation sparked an interest in him to join me, helping to build and be a part of what became the first chance for he and I to reconnect since I moved to Los Angeles, attended art school and started working in the film industry. Main image: A pencil and marker sketch of the sinister clown face that forms the gates of hell, also known as the entrance to THE DEVIL'S CARNIVAL. Bottom, left to right: The finished set, on location at L.A. Circus in Riverside, CA, featuring a 26-foot-tall red and yellow, three- dimensional clown with an illuminated open-mouth entrance and moving mechanical hat. Flanking the giant clown were one hundred linear feet of 12-foot-high metal fencing. An existing barn structure at L.A. Circus became a devilish bar, complete with performance space and torture devices. Once inside the gates of hell, the midway was dressed with game tents, strings of carnival lights, clown set pieces and carnival rides.