Issue link: http://digital.copcomm.com/i/891583
50 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 6 Top: Miles had a lifelong love for boxing. MILES AHEAD makes many references to boxing in his home, and here, Holy Cross Monastery in Cincinnati is dressed as a pop-up boxing venue in 1979 called Cathedral Boxing. Above: The site plan in SketchUp of Cathedral Boxing in 1979 by Art Director Korey Washington. Right: The weathered brick and stripped wood interior of Holy Cross was enhanced with moody and atmospheric lighting. SCALE: hundred years old at the base, and become more colourful closer to the newer 1980s things at the top. The variety of colours would grow as our eyes move up the pile above the wagon. Throughout the film, the colour palettes of the sets were earthy and muted tones. Never full saturation. The browns, greens and greys give space for Janie Bryant's colourful 1980s costumes to pop, and the greens were used specifically to contrast with the red used throughout the film. Red primarily appears as a symbol of Pennywise. The red balloons at the Neibolt house or in the tunnels are an example of this, as is the blood in the bathroom sink. I wanted that scene to live up to other classic horror scenes, such as those found in Psycho and The Shining. There were many other sets built on stage that were used to complete scenes begun on location, especially for sequences that required special effects. Working on IT was a unique experience, given my collaboration with the director. I realized that I could have a really great time while designing a dark movie. Every set was filled with horror, but the fear was just a final layer applied to great scenery. IT is a small big movie. ADG A. Photoshop rendering by Henry Fong of the sewer set. B. Photoshop rendering by Henry Fong of the cistern with Pennywise's wagon buried in a pile of his victims' castoffs. A B