Issue link: http://digital.copcomm.com/i/929567
Ben Bradlee's office. The space was modeled and design work added in Modo. This enabled accurate lens and shot studies. Simultaneously, there were two amazing newsroom advisors: R.B. Brenner and Leonard Downie Jr. (aka "Len"). R.B. served as metropolitan editor, Sunday editor, deputy universal news editor and Maryland editor, presiding over a 2008 Pulitzer for the paper. Len worked at The Washington Post for 44 years, was executive editor from 1991-2008, presiding over 25 Pulitzer Prizes. As the architecture was developed into a working plan, there was continuous dialogue with these advisors on the working structure of the 1971 newsroom. Also, Rena DeAngelo began to source furniture, objects and textures. Camera tests were done on wall colors, objects and levels of age on the set under actual lighting conditions, working closely with Janusz Kaminski and his crew. What emerged, I believe, was a set that supported the action of the scenes, created the energy and essence of the 1971 world, and yet also functioned as a working newsroom with its hierarchy, archaic messaging, wire room and pneumatic tubes. Design in the service of a great story. It was truly a fascinating ride. A. Modo model view of Bradlee's office from the opposite end of the space, showing the corridor/camera runway. Set Design by Michael Auszura. B. Film still of the newsroom. C. View of Ben Bradlee's office. D. Film still of the Supreme Court, built on location at Columbia University's Low Memorial Library. Set Design by Aimee Dombo, E. View of Katharine Graham's backyard, built on stage at Steiner Studios, Brooklyn, NY. Set Design by W. Steven Graham. D E