Issue link: http://digital.copcomm.com/i/716619
P E R S P E C T I V E | S E P T E M B E R / O C TO B E R 2 0 1 6 31 dull. So Elliot and I chose new colors for the interior of this house. We walked through it room by room and made subtle changes. I don't really rely on a fixed color palette; I don't work that way. I try in most cases not to use too much color but to be selective where it's needed. For instance, the house had bright blue shutters. I never quite understood the reason for it but obviously, there was a purpose because we saw it so much, one of those consistent things. It might have something to do with the insects. The only location that seemed right for the armory was the Railroad Museum, a big, old brick building that housed steam engines. It was difficult in the sense that, like any museum building, they are always restoring it and they don't want us coming in doing a shorthand version. So we did a certain amount of restoration with their help, and the rest of it I was able to cover up in some way that was appropriate. There was a lot of dark green there so that's what I used. Some Army insignia and graphics were placed here and there. There's a lot Geoffrey Kirkland, Production Designer Jai Field, Graphic Designer Anne Hyvarinen, Faith Farrell, Lillian Heyward, Kristine Kennedy, Steve Mckean, Scenic Artists Jill Beecher, Storyboard Artist James Edward Ferrell Jr., Set Decorator of camera movement in the battle scene so we were often covering up elements that weren't right for the period. When, like this film, you only have three or four weeks' prep, any set is difficult. You just make the most of what you have in the amount of time you have and hope that you can enthuse enough people to pull it off. That's what we did. Our secret weapon was Nate's enthusiasm. He's the reason we were all there. It's like motivating a good football team: it starts at the top. Working with Nate was everything. It's like the song in Bugsy Malone, you give a little love, it all comes back to you. That's Nate. ADG Top: Nat Turner's rebellion was the largest slave revolt in US history and led to a new wave of oppressive legislation prohibiting the movement, assembly and education of slaves. Above: Turner himself was not captured until the end of October, and after confessing without regret to his role in the bloodshed, he was tried, convicted and sentenced to death. On November 11, 1831, he was hanged, the scene played on Mr. Kirkland's gallows sketched here.