Issue link: http://digital.copcomm.com/i/747534
some companies for permission to use their labels to make a larger quantity of items than we could actually find. The whole department was literally still putting labels on canned food right up until the scene was shot. A Life magazine article from March of 1966 was written about Richard and Mildred Loving in the days leading up to their case going to the Supreme Court. In the article, are photos taken by Grey Villet. Michael Shannon plays Grey Villet in the fi lm, who visits the Lovings (played by Joel Edgerton and Ruth Negga), hangs out with them for a day and photographs them for Life. This was the one part of the fi lm where I really wanted to match what their home actually looked like. The magazine article also had to be re-created as a hero prop in the fi lm. The Lovings were simple people who tried to keep a low profile and had to fight injustice and make sacrifices to stay together. "We have thought about other people," Richard Loving said. "But we are not doing it just because somebody had to do it and we wanted to be the ones. We are doing it for us." I took this into account while making the film. I didn't want the design to stand out in their world; I just wanted it to be simple, a part of them. The Art Department team was a great part of figuring out this world. Coordinator Susan Sutphin was exceptional, along with Art Department assistant Adam Stynchula, who tried his hardest to get a copy of their real marriage license (but the one you see on the screen is all him). I'm lucky to get to continue working with my friends Jonathan Guggenheim and Adam Willis, and also with Sarah Green, who produces all of Jeff 's films. And of course Jeff, who continues to write beautiful scripts for us all to bring to life. ADG Clockwise from top left: Set decorator Adam Willis had some good luck with product for the hardware-store location from a collector who essentially had a store set up like a museum. The grocery store had similar problems locating period product to dress the store shelves; the entire Art Department was literally still putting authentic labels on canned food right up until the scene was shot. Snow was created for the exterior scenes at the Washington, DC row house street, shot in Richmond, VA. In the middle of the block, one row house had not been modernized, so some walls were taken out to make it bigger for filming, layers and layers of linoleum flooring were stripped away to get down to the original hardwood, and the existing walls were painted and wallpapered. The last two images are before-and- after photographs of the interior of Richard's mother's house, showing the addition of planking on the walls, and extensive aging with paint.