Issue link: http://digital.copcomm.com/i/929567
Ext Washinton Post Site Plan Scale: 1/4" = 1'-0" 1 2 2 2 SC.1 - SC.1 - EXISTING DOUBLE DOOR MUST REMAIN ACTIVE ENTRY DOOR APPLY BLACK FILM TO INSIDE OF GLASS COVER EXISTING DOUBLE DOOR EXISTING COLUMN 1/2" DIMENTIONAL LETTERS ON 1 1/2" STAND OFFS 2" DIMENSIONAL LETTERS ATTACHED TO ALUMINUM FRAMING SAFETY BRIDLE BACK TO EXISTING EXTERIOR STONE FACADE USE EXISTING HOLE IN FACADE TO MOUNT HARDWARE REMOVE EXISTING LIGHT FIXTURES SET DEC TO PROVIDE FLAGS FOR EXISTING FLAG POLES 1/2" DIMENTIONAL LETTERS ON 1 1/2" STAND OFFS Ext Front Elevation Scale: 1/4" = 1'-0" 1 2 WEST WALL PLUG EXISTING DOUBLE DOOR MUST REMAIN ACTIVE ENTRY DOOR APPLY BLACK FILM TO INSIDE OF GLASS 2 2 EAST WALL PLUG COVER EXISTING DOUBLE DOOR INSTALL WALL PLUGS TO COVER EXISTING STORE FRONT WINDOW PLUGS TREATED AS POLISHED STONE SECTION Scale: 1/4" = 1'-0" N O T E P IT C H O F S I D E W A L K A T L O C A T I O N Date: Preliminary The production was based in New York City with a small second unit in DC, primarily because of all the restrictions that come with shooting in Washington. For help in finding the key Art Department members I turned to Adam Stockhausen, who had worked on Bridge of Spies, and is based there. He recommended two people: Rena DeAngelo as set decorator and Kim Jennings for the Supervising Art Director. But Kim was about to go on a long overdue vacation with her family, so she agreed to double-team with Deborah Jensen, who recently worked on Girl on the Train, and they shared a Supervising Art Director role. Along with Diana Burton, who is an amazing prop master, location manager Lauri Pitkus and UPM Carla Raij, they together formed the basis of a generational group of magnificent art and production talent based in NY, who all happened to be women. They were so inspired and eager to depict this story, that it was possible to come to New York and fluidly accomplish everything necessary in such a short period of time for prep and filming. 1971 is a period that I grew up in. It's not an ancient time for me; I came of age then. So I wanted to reflect a very straightforward version of those times. The production went to great lengths to make it accurate for people who would like to immerse themselves in what it would have felt like to be in those days. So we all took great care that everything from the set decoration and props, to the set designs, were as authentic as possible. A. Exterior of The Washington Post façade, drawing by Set Designer Michael Auszura. B. Washington, DC, protest, shot in White Plains, NY. Concept sketch by Hugh Sicotte. C. Exterior New York Times façade, shot at the General Society of Mechanics and Tradesmen in NYC. Production still. D. The ALL THE PRESIDENT'S MEN Washington Post newsroom designed by George Jenkins. A B