Issue link: http://digital.copcomm.com/i/859699
scene where Billie Jean and Marilyn Barnett make love. We spoke about using a very sensual flesh tone based on the skin colors of the protagonists. I was at their house during an initial discussion and we all got so inspired by the discussion of the palette that Valerie made a small still life representing it. Right: A set still of the "romance" motel room in San Diego (where Billie Jean and Marilyn first spend a night together), built on Stage 10 at Fox Studios. Note the muted fleshy pink color palette. The Translight visible beyond the exterior balcony and window was built to match the exterior location at the SeaPort Marina Hotel in Long Beach. Below: Plan and elevations of the "romance" motel room, drawn in Vectorworks by Camille Bratkowski. Bottom: The bathroom of the motel room, part of the set on Stage 10 at Fox. We also talked about contrasting the female world and the male world, and palette played a part in that as well. Bobby's home life with his wife Priscilla was feminine––white living room, pink dining table, a huge portrait of her in the living room. Priscilla had the money, and ran the house the way she liked it. Her father had given Bobby a job in a very neat and clean office, signifying confinement. That world existed in contrast to his life at the club with his friends, a big messy raucous environment. This is most notably evident in the scenes on the rooftop of the downtown "Despite the seeming ubiquity of tennis courts in Southern California, it was a long process of scouting and accessing to find ones that met the required criteria of scale, ability to present the period and accessibility."