Issue link: https://digital.copcomm.com/i/1152740
wouldn't work, and after two false starts with locations that got cold feet (and in hindsight wouldn't have served the show nearly as well either), it was agreed to go for a build-out of the 33rd floor at 7 World Trade Center. With the location, there would be amazing views of lower Manhattan that are always changing—buildings going up, incoming weather enveloping the view, infinite variations and surprises of natural light… and the decision was made to roll with it and make it work. It was a bold move, to give up all the control of a stage for a less tangible but show- defining quality of naturalism. The production never wants to feel canned, and the investment in that esthetic is one I'm proud was made. It took some guts. The final advantage was that the set was parked in a campus of opportunities—there were a number of other locations in this building and other WTC buildings that could be used to help increase the scope of the Waystar package. The crew went into high gear to build and dress that set in about five weeks, soup to nuts, while contending with fire code and sprinkler issues, load-in congestion, commercial elevators, and a heavy workload of other less central but equally important sets. A four-day charity gala shoot at Cipriani required a lot of attention from the terrific set decorator George DiTitta and his amazing team. Jonathan Filley and I were off to New Mexico to scout ranches for A C D A. WTC 33RD FLOOR LOCATION PRIOR TO WAYSTAR OFFICE BUILD-OUT. B. & C. WAYSTAR CONCEPT MODEL. 3D MODEL RENDERING BY ALEXIOS CHRYSIKOS. D. WAYSTAR OFFICE UNDER CONSTRUCTION. B