Issue link: http://digital.copcomm.com/i/929567
78 P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 8 VARIES 9" 5 1/2" 3 1/2" 3 1/4" SPACE FOR LIGHTI NG TYP. PRODUCTION DESIGNER: E.H. GRAY ART DIRECTOR: J. HALL DRAFT: A. LEITCH SCALE: AS NOTED INT EXECUTIVE OFFICES ### SET # CONSTRUCTION PAINT SET DEC DIRECTOR AD DP GAFFER KEY GRIP [][][] [] [] [] [] [] [][] [][] x x PLAN & ELEVATIONS 2 OF __ 7:12:16 PM 12/14/16 HARD HARD HARD HARD HARD HARD 3080 SLAB (2) 3080 F RAM ELESS GLASS DOORS 3080 SLAB 6'-0" 3'-0" 9'-0" 1'-6" 6" 1'-0" ATRIUM D ET TO FOLLOW ATRIUM DET TO FOLLOW 1'-0" 8'-0" 1'-0" 8'-8" 4" 4" 8'-8" <--1/4" PANEL SEAMS TYP. 4" 4" 4" 3080 SLAB 4" 1'-0" 8'-0" 9'-0" 9" 9" 9" SCALE: 1/4"=1'-0" H SECTION TYP.... STRETCH ED M USLI N AT 13' (3' RETU RN ABOVE) CEILI NG PIECE @ 9' 6" CAN LIGHTS TYP. PLACEM ENT T.B.D. 25'-0" 42'-0" 3'-0" BREAK CEILI NG I NTO (6_ PIECES FOR WILDI NG! 13'-2" 11'-10" 9'-11" 15'-6" 16'-7" 7'-2" 9" 2'-0" 2'-2" 4'-6" 6" 2'-8" 9" 9" 9'-6" 1'-5" 3'-0" 9 1/2" 1'-8" 1'-6" 5'-0" 7" 7" 4'-0" 9" 2'-2" 1'-3" 4'-4" 2'-10" 1'-4" 4'-0" 7" 7" 4'-0" 5'-10" 1'-6" 3'-10" 7" 7" 6'-0" 4'-8" 9 1/2" 9 1/2" 4'-4" 1'-6" 3'-0" 7'-0" 3'-2" 4'-0" 13'-0" 2'-10" 9" 2'-8" 1'-2" 9 1/2" 4'-8" 6'-4" 1'-10" 11" 2'-1" 2'-6" 4'-0" 1'-0" HOLES FOR SET DEC SHADE TYP! HOLES FOR SET DEC SHADE TYP! 4" 4" 8'-0" 1'-9" 4'-6" 1'-9" 4'-6" 1'-7 1/2" 1'-7 1/2" 1'-7 1/2" 1'-7 1/2" 4'-6" 1'-9" 1'-9" 6'-6" 1'-9" 8'-6" 2'-9" 1'-9" 1'-9" 4'-6" 1'-9" 1'-9" 4'-6" 1'-9" 1'-9" 4'-6" 6" 2'-0" 4'-6" 2'-0" CEILI NG PIECE @ 9' CEILI NG PIECE @ 10' CEILI NG PIECE @ 9' CEILI NG PIECE @ 9' CEILI NG PIECE @ 9' SEE DETAIL!!! MILK PLEXI? DISCUSS MILK PLEXI? DISCUSS SCALE: 1/4"=1'-0" -- REFLECTED CEILI NG PLAN 12'-0" 5'-6" 5'-6" 1'-0" 9'-0" 9'-0" 4'-6" 4'-6" 4'-6" 4'-6" 1'-0" 4'-6" 4'-6" 1'-0" 1'-0" <--1/4" PANEL SEAMS TYP. SCALE: 1/4"=1'-0" I SECTION OPEN I NGS VARY 3'-0" STRETCH M USLI N ON TOP TYP. CEILI NG W ELL DETAIL SCALE: 1/4"=1'-0" RELEASED 12-14-16 HALLWAY CEILI NG DETAIL SCALE: 3/4"=1'-0" Special effects and rigging would be right behind. There was a total lack of greens available to purchase in Albuquerque. Roses were dormant, and the garden had to last through two weeks of shooting in 30 mph-60 mph winds, so an LA greens crew was scheduled to arrive with just days to create a full fledged English garden. The set was prepped and shot. The night of the on-camera burn, winds were up to 40 mph. At one a.m., the winds subsided just long enough to safely light the set on fire, and the show went on. Hollywood, the Final Challenge. The production was lucky enough to shoot in and around LA for about thirty percent of the shoot days. We made the most of the sunny city, shooting as many iconic LA locations, neighborhoods and looks as we could muster in our allotted days. When we couldn't shoot LA for Hollywood, we brought Hollywood to the stages of Albuquerque Studios. Our "as LA" builds ranged from big to small, encompassing the B-movie world of the washed-up Rick Moreweather, to the super sleek and sterile offices of Gravity Pictures, to the iconic Polo Lounge inspired Bel-Aire Lounge. Rick's office was conceived from the idea that he was really trying to be somebody, but wasn't quite making it. He had an office on the Gravity Pictures lot, in an old mill receiving office, adjacent to the soundstages (the stage air conditioner would kick on right outside his window), with a super sassy and extremely nosey assistant, and access to Gravity Pictures executives, whom he only encounters on his way past their VIP parking spaces en route to his office. His world was to feel dated, pulling in an old desk, kitchy smalls, and a room littered with B-movie posters and wannabe actors' head shots. His bathroom serves dual purposes as closet and commode, and his waiting room is dark, industrial and laden with full trashcans and junk mail. VARIES 9" 5 1/2" 3 1/2" 3 1/4" SPACE FOR LIGHTI NG TYP. PRODUCTION DESIGNER: E.H. GRAY ART DIRECTOR: J. HALL DRAFT: A. LEITCH SCALE: AS NOTED INT EXECUTIVE OFFICES ### SET # CONSTRUCTION PAINT SET DEC DIRECTOR AD DP GAFFER KEY GRIP [][][] [] [] [] [] [] [][] [][] x x PLAN & ELEVATIONS 2 OF __ 7:12:16 PM 12/14/16 HARD HARD HARD HARD HARD HARD 3080 SLAB (2) 3080 F RAM ELESS GLASS DOORS 3080 SLAB 6'-0" 3'-0" 9'-0" 1'-6" 6" 1'-0" ATRIUM DET TO FOLLOW ATRIUM DET TO FOLLOW 1'-0" 8'-0" 1'-0" 8'-8" 4" 4" 8'-8" <--1/4" PANEL SEAMS TYP. 4" 4" 4" 3080 SLAB 4" 1'-0" 8'-0" 9'-0" 9" 9" 9" SCALE: 1/4"=1'-0" H SECTION TYP.... STRETCH ED M USLI N AT 13' (3' RETU RN ABOVE) CEILI NG PIECE @ 9' 6" CAN LIGHTS TYP. PLACEM ENT T.B.D. 25'-0" 42'-0" 3'-0" BREAK CEILI NG I NTO (6_ PIECES FOR WILDI NG! 13'-2" 11'-10" 9'-11" 15'-6" 16'-7" 7'-2" 9" 2'-0" 2'-2" 4'-6" 6" 2'-8" 9" 9" 9'-6" 1'-5" 3'-0" 9 1/2" 1'-8" 1'-6" 5'-0" 7" 7" 4'-0" 9" 2'-2" 1'-3" 4'-4" 2'-10" 1'-4" 4'-0" 7" 7" 4'-0" 5'-10" 1'-6" 3'-10" 7" 7" 6'-0" 4'-8" 9 1/2" 9 1/2" 4'-4" 1'-6" 3'-0" 7'-0" 3'-2" 4'-0" 13'-0" 2'-10" 9" 2'-8" 1'-2" 9 1/2" 4'-8" 6'-4" 1'-10" 11" 2'-1" 2'-6" 4'-0" 1'-0" HOLES FOR SET DEC SHADE TYP! HOLES FOR SET DEC SHADE TYP! 4" 4" 8'-0" 1'-9" 4'-6" 1'-9" 4'-6" 1'-7 1/2" 1'-7 1/2" 1'-7 1/2" 1'-7 1/2" 4'-6" 1'-9" 1'-9" 6'-6" 1'-9" 8'-6" 2'-9" 1'-9" 1'-9" 4'-6" 1'-9" 1'-9" 4'-6" 1'-9" 1'-9" 4'-6" 6" 2'-0" 4'-6" 2'-0" CEILI NG PIECE @ 9' CEILI NG PIECE @ 10' CEILI NG PIECE @ 9' CEILI NG PIECE @ 9' CEILI NG PIECE @ 9' SEE DETAIL!!! MILK PLEXI? DISCUSS MILK PLEXI? DISCUSS SCALE: 1/4"=1'-0" -- REFLECTED CEILI NG PLAN 12'-0" 5'-6" 5'-6" 1'-0" 9'-0" 9'-0" 4'-6" 4'-6" 4'-6" 4'-6" 1'-0" 4'-6" 4'-6" 1'-0" 1'-0" <--1/4" PANEL SEAMS TYP. SCALE: 1/4"=1'-0" I SECTION OPEN I NGS VARY 3'-0" STRETCH M USLI N ON TOP TYP. CEILI NG W ELL DETAIL SCALE: 1/4"=1'-0" RELEASED 12-14-16 HALLWAY CEILI NG DETAIL SCALE: 3/4"=1'-0" A B