Issue link: http://digital.copcomm.com/i/765720
of American Art Director. She and her team regularly work on House of Cards, so she perfectly knew the topic. We shot the night scene where Jackie deals with mannequins representing her. This scene was written according to documents showing the possibility of a such scene. Regarding the funerals, we also wanted to be as close as possible of the reality and we managed to find a lot of archives and photographs that gave us the details of the organisation of these ceremonies. During the spotting for the scene, we had to find with photographs the exact position of every personality, but also make sure what were the architectural modifications, and if there were any, find the original to have enough documentation to give to the visual effects artists. We found the details of the events such as: who, when, how, running order of the vehicles, car models, colors, who was in it or not, where were Caroline and John, which minister or president came, where were they during the procession, in the church, at Arlington cemetery, etc. An anecdote: the caisson used for the Kennedy funeral sequence (and for other important persons) that the Army lent us was the real one, and the machine to get down the coffin in the grave was also the one from JFK's funeral. The department in charge of state funerals worked with us. A lot of preview was necessary to give Pablo Larraín the tools he needed to prepare the Washington filming in February 2016. Everything was done to make the filming in front of the White House on Pennsylvania Avenue as efficient as possible. All of that was prepared with the support of the visual effects supervisor Sebastien Rame and Nicolas Rey of the Mikros Image company near Paris. The filming ended at a house near Easton, MD, two hours away from Washington, standing in for Massachusetts. Not filming in Hyannis Port was an economic and schedule choice. With the help of Veronique Melery and Halina Gebarowicz, we found an ideal house. We were able to maintain most of the house, but furnish all of the rooms we used, to simplify this house full of modern electronics and detectors, but also full of charm. Most important was that the Kennedy compound spirit was on screen. Visual effects had to finalise the few marine landscapes to get the real Cape Cod feeling. We finished the filming on March 4, and I went straight to New York to finish my work with the Cirque du Soleil on the Broadway musical Paramour, another beautiful work with American and French crews. ADG of American Art Director. She and her team regularly work on House of Cards, so she perfectly knew the topic. We shot the night scene where Jackie deals with mannequins representing her. This scene was written according to documents showing the possibility of a such scene. Regarding the funerals, we also wanted to be as close as possible of the reality and we managed to find a lot of archives and photographs that gave us the details of the organisation of these ceremonies. During the spotting for the scene, we had to find with photographs the exact position of every personality, but also make sure what were the architectural modifications, and if there were any, find the original to have enough documentation to give to the visual effects artists. We found the details of the events such as: who, when, how, running order of the vehicles, car models, colors, who was in it or not, where were Caroline and John, which minister or president came, where were they during the procession, in the church, at Arlington cemetery, etc. An anecdote: the caisson used for the Kennedy funeral sequence (and for Counterclockwise from right: A SketchUp ® model of the 70-foot-long Boeing 737 Air Force One set built on stage in Paris. The vanity space was used for Jackie to touch-up her makeup upon the arrival in Dallas, and to wash her husband's blood from her face after the assassination. Every part of the set was wild to allow multiple scenes to be staged in the tight space, including a re-creation of the swearing-in ceremony of President Lyndon Johnson. The working door was obtained from an Irish antique dealer; it took twenty-five man- days to make the structure so that the door would operate.