Issue link: http://digital.copcomm.com/i/747534
Right, top to bottom: A New York City pawnshop in 1979 was re- created on location in Cincinnati. A space in the fi lm's production offi ce in Cincinnati was turned into a Columbia Records A&R executive offi ce in 1972, beautifully decorated by Helen Britten. A set still of the Columbia Records recording studio lounge area in 1957, the studio where Miles recorded PORGY AND BESS. His response, "I know." I laughed a bit, knowing he had a lot to consider. He could take a chance or maybe give an opportunity. All I could do was wait. Time stopped almost completely. Again, seconds felt like hours. I was ten years old and everything slowed down, summer will never come. I should walk the dogs, clean the house, do the dishes, read a book, walk the dogs again. The sun continued its routine, setting and then rising, neverminding me at all, announcing the next day, almost poking fun at me in the gentlest of ways. I was humorless at the moment. I felt everything continuing forward, just maybe without me. "Images danced about in my mind. New York in the 1970s, the voices of the actors replacing my own as I read the lines. Descriptions began to move in my head like my own private screening. The action became real, tangible, spirit raising. I kept repeating to myself, 'I must work on this film.'" The phone rang. It's my agent, and clearly the hammer is coming down. I answer. Danica, my agent's voice, on the other end, steady, says, "Are you sitting down?" I thought, "I'm standing; I can take it." She continued: "You got it!" I replied—or at least I thought I did—but it turns out I was silent. I dropped to my knees; I should have been sitting down. I don't know if it was joy or paralysis, or if they are really the same thing, but the feeling was indescribable. She said more words which I didn't hear over the screaming in my head. I'm sure she'll send an email. She did. A few weeks later, Don and the producers landed in town and I was off to meet them at the hotel. I waited in the lobby thinking, "This is such a nice hotel, but I'm not sure about these wingback chairs." A bell dinged and the elevator doors slid open. I walked over as Don exited. He came toward me with his hand out and said, "You must be Hannah." I shook his hand firmly and said, "You must be Don." A moment of silence, then he smiled and said, "Are you ready?" I replied, "I'm ready for this journey." And then I thought to myself, the destination is Miles Ahead. ADG Hannah Beachler, Production Designer Korey Washington, Art Director Brent Wachter, Scenic Artist Gordon Kljucec, Storyboard Artist Helen Britten, Set Decorator