Issue link: http://digital.copcomm.com/i/891583
I was happy when the opportunity to work on IT came along. Horror movies are not my favourite genre, but I was very excited about the idea of trying my hand at designing something that would be unique, spectacular, aesthetic and scary. During the three months of prep, the director Andy Muschietti and I met every morning to go through all the set details and concepts I worked on with the small, talented Art Department. Andy and I collaborated on the creative decisions, sketching ideas and concepts that would work for everyone on the team. My main goal was to create some wonderful sets on stage, which is my forte. I came up with designs that were sure to challenge the scenic and construction departments. There were also many, many locations that had to be found. Toronto-based location manager Randy Morgan was able to take us to some great-looking, practical locations that I would later cobble together to recreate the spirit of Derry and the universe found in Stephen King's book. One of these sets is the iconic Neibolt house, which required three separate locations and a stage build. We built the exterior façade in Oshawa, a small city in Ontario, Canada, about forty-five minutes outside of Toronto. It became such a popular attraction, the local news station covered it almost daily. The location department had to secure the streets Details from an elevation of the Neibolt house by Set Designer Sorin Popescu in Rhino.