Issue link: https://digital.copcomm.com/i/1152740
O Z A R K | P E R S P E C T I V E 6 7 lobbyist. A conference room and three other offices were also part of the design, including one for Ruth, as she briefly came to the office during the season. In order to cut down on reflections, the center glass panels were built to gimbal. Around this time, the Art Department was informed that the production had lost the hero location of season one for the Snells' house, a really big loss. That location had been used for both interiors and exteriors in season one, and was almost a character by itself. As we were confronted with the confounding challenges of getting a paddlewheel, it was now necessary to replicate a signature interior on stage, directly matching a house with many idiosyncrasies. We tried to figure out how to shoot around the exterior of the house, because the porch had been shot several times during the first season. Designs were developed for the interior of the main floor of the house, plus the master bedroom, which was also needed. Because of limited stage space, a plan was devised to flip the living room area to the master bedroom by adding a wall through the center of that living/ dining room area to create an alternate space. The front porch was also finished out so that scenes could be shot on the porch looking directly toward the house wall. The Art Department team, set decorator Kim Leoleis and lead man Joey Sisson, construction coordinator Wally Mikowlski, Set Designers Chris Burkhart and Jarrette Moats, all set forth on faithfully duplicating the Snell house on stage. The C C-E. PHOTOS BY DEREK HILL SHOWING THE FINISHED INTERIOR OF BYRDE ENTERPRISES. ALL THE WINDOWS IN THE HALLWAY AND OFFICE WERE MADE TO GIMBAL TO HELP MANAGE REFLECTIONS. F. THE SNELL HOUSE LOCATION USED FOR SEASON ONE. THE INTERIORS AND PORCH OF THE SNELL HOUSE WERE BUILT ON STAGE FOR SEASON TWO. D E F