Issue link: http://digital.copcomm.com/i/765720
not have asked for better. The 1000-foot roadway was paved with the correct crown in the center. Extraordinary detail also went into the sidewalks where the bombs exploded, as the camera would be looking down at all of the victims and carnage. At a great expense, the granite tiles that made up a lot of the sidewalk were duplicated. We even tried to replicate exactly all of the gum spots on the pavement as seen in the historical photos. Ricky Riggs and his painters, with their attention to detail, were terrific. There were quite a few practical storefront interiors on that big set. Several restaurants, a Starbucks, a LensCrafters, a sporting goods store and a candy store. Set decorator Ron Reiss and his crew did an outstanding job replicating the original interiors. The film editors could cut in and out of the historic bombing videos without anyone knowing. In addition to constructing the two bomb-location sets, we had to create the finish line with its stadium-like feel. Art Director Stephen Cooper took over lining up the grandstand and bleacher vendors, the photo-bridge company and all of the Marathon signage, correct for 2013. He coordinated with Eddie Jacobs, the Boston Marathon's overall manager for the last forty years, to get us as much of the actual Marathon staging as possible. The minute the real Marathon was over, as much of the equipment as possible was immediately shipped and set up in South Weymouth. Once that was all in place on the set, it was covered with the correct fabric signage, with very little time to spare before the big set was shot. Prior to shooting the Boylston Street set, and to give time to build it, the FBI Evidence Warehouse was created. The real warehouse in 2013 was the Black Falcon Terminal, but that was unavailable to us as the cruise liners would be using it as they normally do for their passengers and baggage. So one with a similar feel had to be created in the warehouse at the Danvers production facility. It was a huge storage building without windows; the real one was very long and narrow with windows. A 300-foot-long wall was needed, thirty-five feet tall with windows. I didn't think there was money in the budget for it, but Steven Cooper came up with an idea to do it very simply. Construction coordinator Theodore Suchecki provided a reasonable estimate and we went for it. It ended up costing a bit more than he thought, but it looked great and shot extremely well. Cinematographer Tobias Schliessler loved it. It gave him a light source other than just the overheads. The warehouse had to be dressed to the FBI descriptions with bagged evidence on the gridded floor, and desks, computers and equipment for two hundred- plus FBI agents working on the bombings. The set dressing was layered and shot in stages to show the growing intensity and scope of the investigation. Above, left and right: The triage area of the Boston Mercy Hospital set, originally a waiting area for orthopedic patients in an unused corridor of a rehab facility. Ron Reiss and the set dressing team did a great job installing curtains, beds, medical headboards, and all of the medical dressing and signage. Since no real hospital was available, Mr. Duffi eld decided to show the chaos and the gore of that day by dressing empty hallways at the rehab facility—texture is everything. Below, left and right: The proposed layout for the Arsenal Mall command center set where all of the men and equipment were stationed during the actual search for Dzhokhar. The producers asked to use the parking area at the production offi ce in Peabody, MA, so the Photoshop layout shows that location with the number and types of available vehicles. The command center set on the fi rst night of fi lming with the command tent on the right and Humvees lined up alongside. Proposed New Arsenal Mall Layout