Issue link: http://digital.copcomm.com/i/929567
The First Challenge. Only with experience can one truly understand the patience it takes to navigate the spatial, emotional and logistical challenges of filming in two states. It was decided that we would shoot two episodes at a time, transporting the crew back-and-forth between the two cities. We didn't anticipate how tricky that would be. Few departments could be crewed locally in Albuquerque, so, by the end of the show, approximately ninety Los Angeles-based crew members were sent out by the plane load. The production chartered private jets to shuttle departments and equipment between states, sometimes starting the day in one state, only to finish the shooting in the other that same night. What business does a little TV show have chartering private jets? We were beginning to discover that maybe this wasn't such a little show. We doubled down on Art Department in both states, leaving behind crew to prep sets we would be returning to a couple of days or weeks later. At first, there was the constant stress of feeling like you needed to be in two places at once, but as the season progressed, that stress became more of a dull angst, subsiding to the normalcy of not knowing exactly where one would wake up at the end of the week. There was, however, the perk of fly fishing on the weekends, trips to the hot springs at Ojo Caliente, amazing sunsets, vistas, and an abundance of green chili and local breweries. Plus, all those Southwest frequent flyer miles racked up over months of flying back-and-forth. Straight to A-list! Could be worse. The ABQ Challenge. There are the day-to-day challenges we all face as Production Designers—tight schedules, tight budgets, changing scripts, new directors, big personalities and the how-do-we-get-it-all-dones. We can navigate the A. & B. The Silver Dust Casino exterior. C. Custom cut large scale gold nuggets and welded gold pan as you enter the casino doors. D. Interior casino concept sketch by Production Designer Elizabeth H. Gray. E. Bar and dimensional diorama. F. Ironic ocean mural during install (pictured, LA construction coordinator Johnny Mazzola). G. Plan for the Guatemalan shack by Set Designer George Maya. H. Guatemalan shack just hours before shoot. I. Guatemalan shack during shoot. H I F G