Issue link: http://digital.copcomm.com/i/916056
which contextually needed to be near Downtown Los Angeles, and situated safely to accommodate special effects explosions. It also needed to be on a site that felt appropriate for a gas station. After making the decision to rule out any defunct gas stations that likely contained leaky gasoline storage tanks underground, Andrew Menzies and Michael Haro found a solution in the parking lot of a soon-to-be-gentrified warehouse in the middle of the Arts District in Downtown L.A. It was perfect, a corner lot, next to two bridge underpasses and some 'rough around the edges' buildings. After the design was refined to perform all of the necessary tricks, construction coordinator Michael Villarino and his crew managed the entire engineering, permitting and building process in an impressively short amount of time, all while continuing to manage the tight schedule required by other sets that were shooting. As with all sets in this movie, the lead scenic painter Kevin Mahoney and his team made the gas station look like it was twenty years old and disgustingly perfect. The set decoration team did an impressive job sourcing real gas pumps to add B A C