Issue link: http://digital.copcomm.com/i/916056
and squeezing large set pieces and dressing through small spaces in coordination with other departments' schedules. It also required close attention to existing signage and the integration of Orc-branded products. This led to clearance headaches that Art Department coordinator Sara Ghaffar and set decoration coordinator Shaun Young handled with grace. Based on writer Max Landis' back story and Art Department research, it was understood that Orcs were culturally rooted in blue-collar work; farming, hunting, and they had strong connections to their religion (based loosely on Christianity). One scene takes place in an Orc Church. Within any religion, symbolism plays an important role. Andrew, with the help of illustrator Alex Cunningham, developed a large tree made of antlers in the space. It was surprisingly more cost-effective to achieve using real deer antlers. Cindy La Jeunesse found and hired artist Ryan Doyle to sculpt the tree using a steel skeleton and approximately five tons of antlers. Another impressive cultural layer that brought this set to life was the gold leaf "History of the Orcs," written in the Orc language with hieroglyphics, created by graphic designer Simon Jones, which surrounded the entire space. One of the more challenging sets for all departments was 341 Abrams, an exterior location between Rampart and US 101 freeway, on a dead-end street. A dilapidated four-unit apartment building was acquired and made worse. Led by Art Director Chris Brown, this set required all departments to work closely together; coordinating the movement of different departments' trucks up and down the one-way street, the incorporation of lighting within set elements, stunt pads which were painted to match specific materials, the greens department working with the set decoration crew to embed their detritus and homeless encampments, and the integration of grip and electric equipment around the scenery to support the shooting company, as well as the continuity and the common elements the set shared with the interior that would be built on stage. To complicate things further, this set was prepared and shot around the Thanksgiving holiday, which meant the production had to move everyone out of their homes before, during and after the holiday. The locations department and production understood the inconvenience and gave turkey vouchers and gift cards to the displaced residents. Another set that presented challenges was the Quikfill gas station. This set had to accommodate a number of tricks involving stunts, special effects, props, and fulfill requirements for both first and second units' demands. The first challenge was finding the appropriate location, C. Gold leaf "History of the Orcs," written in the Orc language, created by graphic designer Simon Jones. D. Set photo of the antler tree in Orc Church. E. Set photo of the Orc Church. Photos by Bradley Rubin C D E