Issue link: https://digital.copcomm.com/i/1177962
E D J K In the meantime, the only way I could imagine presenting the before and after work was to shoot the storefronts of Hollywood Boulevard straight on and use Photoshop to show what the facades and marquees would look like after being refaced and dressed to 1969. I got the location department to go out with me and shoot the boulevard, at times holding traffi c to get a clean shot. All the shots were imported into Illustrator on Nathan Schroeder's computer and he seamlessly made huge long panoramas of each side of the street. They were hung in a large open space in the production offi ces and I walked through it with Quentin, going over what could actually be achieved on Hollywood Boulevard. We knew right off in front of Grauman's Chinese was a modernized wall of glass and steel now, as was the block next to it. We zeroed in on four blocks of Hollywood Boulevard, both sides of the block with the Musso & Frank Grill, and into the blocks either side, and the north side of Hollywood Boulevard from the Pantages Theatre south for two blocks. The city granted the production the permits under the condition the two diff erent Hollywood Boulevard blocks be dressed and shot at diff erent times, which I am very thankful for as the work on the street with construction cranes, condors, scissor lifts and ladders was a traffi c and pedestrian nightmare. I started designing the street facades with a rough Photoshop layout using imagery from the vast