Issue link: http://digital.copcomm.com/i/765720
Opposite page, counterclockwise from top right: A model of the shootout street, a block of houses that were built at the Weymouth Naval Air Station; the model was extensively used by the director and stunt coordinator to plan out the action and pyrotechnics. A high shot of the model showing what would be built, and what had to be matched; the existing location was photographed, measured and drawn by Bryan Felty and Patrick Scalise. An aerial photograph of the set under construction, an exact match to the block of houses in Malden, MA, where the wide arrival shots and the wide post-shootout scenes were fi lmed; all the large explosions and major fi refi ghts occurred on this set. To get the set done in time, two foremen from California, David Shauger and Richard Birch, came east and did a fabulous job getting the set built in harsh weather conditions and compressed time frame. The set nearly fi nished. Above: Mr. Duffi eld's Photoshop rendition of what he planned to do with a Framingham house to make it appear as close as possible to the real Henneberry House in Watertown. The designer himself on the location, planning the matching garage, repairing the neighbor's garage, putting up a fence and placing the boat in which the younger bomber, Dzhokhar Tsarnaev, was hiding. Below: The fi nished house and new garage, and the backyard. Tom Duffield, Production Designer Steve Cooper, Art Director Bryan Felty, Assistant Art Director Patrick Scalise, Set Designer Ricky Riggs, Charge Scenic Artist Rae Signer, David Rickson, Scenic Artists Jason Mayoh, Storyboard Artist Ronald R. Reiss, Set Decorator so we volunteered to find another street. The town of Malden was happy to have us, so I set out to find the right street. It had to have a similar width, length, type of houses and a slight slope from west to east. I was able to find one and I thought we were all set, as it shot at the end of the schedule. Not quite. With about six weeks to go, Pete Berg asked for a meeting about the street. He'd been thinking about it and concluded that he would not be able to do all the gunfire and explosions that he wanted to do on a real street. He would shoot the wide angles and lead-up scenes on the real street, but he asked that we re- create that block of houses somewhere he could do the gunfire and explosions that he wanted. So in six weeks, a construction site had to be found and a block of houses built to match the street in Malden. Measure, draw and match the architecture, lawns, fences, sidewalks, windows and doors, all the details had to be right...and of course, the producer chimes in, "For a price!" I ordered up another model of that street, and set about to bring in the Marines, in the form of Dave Shauger and Richard Birch, two forceful construction foremen that I knew could pull it off if anyone could. At first I couldn't find a site. I wanted one with an existing road and turf on each side so phone poles could be set. I finally located one with a Google search near the Boylston Street set at the South Weymouth Air Station, but the wildlife service had to pass off on it, and another town had jurisdiction over the site. We actually had to get building permits for the sets there. Never had to do that before. With those issues settled, the construction was hectic, finishing on the day that the company showed up for that night shoot. We were done. A difficult show with the weather, schedule, budget and local issues, but I think we delivered a truly realistic show with a great look. ADG