Issue link: http://digital.copcomm.com/i/765720
P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 7 91 etc.) in order to re-create the particular atmosphere of her private apartment. It was very important to go as far as possible in those details. A large series of photos are available on the JFK Museum's and White House's websites; we found a photo of every single accessory in JKF's office (even as far as the resin paperweight where Kennedy carved a distress message inside a coconut during the WWII Pacific battles). Everything was re-created or built. We also had the list of every family picture on his desk, but also Jackie's fashion magazines, bedtime readings, every single detail of her bathroom. It was these kind of details, their numbers and precision that led us, step by step to the atmosphere we were looking for. All of that would have stayed a museography work without this focus on the colors, materials, fabrics, without this bond that united us with Pablo's movie, without the actors who brought life to these places. About the architectural aspect, it was surprising to me to see the White House publishing such an important documentation on its architecture and its decoration. We easily knew which were the paintings hung at this time, to get precise scanned pictures of them and their size and exact location. We even could get the 1952 renovation plans which provided some very precise details on moulding, woodwork and the private apartment's architecture. Twelve draftsmen were necessary to draw the whole set. Sometimes, we had to interpret photography to design the set, such as the Oval Office where just a few written accounts were available. For Air Force One, we were able to build the set with the help of the Boeing archives of the period. Jackie's linens on Air Force One were embroidered in Paris. Of course, every seat of the plane was re-created from original photos. We had to shoot the scene of Johnson's taking the oath of office, and the fame of this photo was such that we had to find every detail, but also to imagine the President's private room, create the sink that Jackie uses to wash her husband's blood on her face. To be able to show the opening of the door in Love Field, the Dallas airport, we had to buy a real Boeing 737 door, a rare piece found at an Irish Antique yard. The reparation of the door, and the part that holds the door, required over forty workdays for two ironworkers. It was necessary for the whole set to be easily removable, and all the lights were integrated into the set since the conception of it. The color work on the architecture, furniture and fabrics has been guided by the work of photographer Robert Knudsen. He has made a wonderful documentation job on the White House and on the private apartments. It was a great source of inspiration for us. We were very sensible to all the elements and research that could provide us the '60s atmosphere, more specifically, the atmosphere that Jackie Kennedy brought to the White House. We worked a lot on the color palette from the Ektachromes of Mr. Knudsen. To succeed, the collaboration between cinematographer Stéphane Fontaine and costume designer Madeline Fontaine was essential. Pablo Larraín often told us to use the bright color of the period, not to be afraid of using saturated color, but we also had to get an overall harmony while eliminating any color association that could shock. It was a risky gamble, but it does set the tone of the movie. After four weeks of shooting in Paris, we brought the movie to Washington for ten intense days of shooting. I asked Halina Gebarowicz to have the role