Issue link: https://digital.copcomm.com/i/1152740
of the characters. As with set dressing choices, which tend to minimize the emotional connection between character and possessions, the simplified color palettes seem stripped of viewpoint: a denial of personal investment. Yet as the Art Department worked to develop these sets, it was already apparent we'd have two problems right off. One was the stages, the other was the usual—money. Four stages had been leased before I was hired, and I'm sad to say, the production never set foot in two of them all season. Those two were remote from the main shooting locales, oddly shaped and didn't give adequate room for well-lit backings. Before that was even established, there was notable sticker shock to reckon with. As happens, the show had been budgeted with a template in mind, I'm sure with best intentions on the parts of all involved, but when the first build numbers went in, Jonathan Filley (the most hands- on producer of season one) looked at the Art Department like maybe we were insane. My good friend and collaborator, Art Director Kim Jennings, and I knew the numbers were not unrealistic for the work being asked, but with all manner of unknowns in the second half of the season, Jonathan felt, correctly I'll admit, that we'd need to keep plenty of powder dry. Which brings me to Mark Mylod, the producing director. While it's common for directors to appear on episodic shows then vanish, sometimes with little information on the larger arcs outside of their episodes, Mark was fortunately on as a constant throughout seasons one and two. He was pretty much the first person I turned to when trying to navigate the budget issues, because a) he was directing the first two episodes, so naturally we were spending a lot of time scouting A A. LOGAN'S APARTMENT. ENTRY FOYER AND STAIRCASE. SET PHOTO. B. LOGAN'S APARTMENT. DETAIL OF ELEVATIONS SHOWING THE ENTRY STAIRS. DRAFTING BY MICHAEL AUSZURA. B