Issue link: https://digital.copcomm.com/i/1177962
H Pandora's Box had an interesting problem arise after the location was secured. A restaurant was found in Hollywood that I thought I could reshape with a front facade and then paint the wild colors of the original Pandora's Box. All the construction problems were worked until, at the eleventh hour, a second owner appeared and said absolutely no painting on the building! There was no time to fi nd a new location, so one of the billboard vendors working on the show was approached to see if the building could be wrapped in vinyl. They said yes, and the crew immediately did color tests in a low-matte fi nish to make sure it would not look like vinyl in the sunlight, and held its saturated color. After a series of a dozen passes, the right color and texture was worked out. After applying the "wallpaper," the scenic painters went in and veiled an age wash over everything. The evening before the shoot day, it rained…and the billboard guys said the vinyl could start releasing itself if it got too wet! It didn't and we got it shot. Art Director Tristan Bourne ran this set and most likely aged many years in the process. A number of scenes-within-a-scene of movies and TV shows were created in which main character Rick Dalton appears. The Nazi conference room was one of the most elaborate due to the pyrotechnics involved. I based the design on Albert Speer's sense of austere large spaces, making the red from the Nazi fl ag the standout color. For the sake of budget, I used stencils on the walls and fl oor for detail. The conference table was to be the only light until the red curtain opens, so I based the table on a part lab table and part library table. The special eff ects supervisor fi reproofed the set walls and fl oors and built six tables to burn over the multiple takes. G. PANDORA'S BOX. DIGITAL MODEL BY TRISTAN BOURNE. H. PANDORA'S BOX. PRODUCTION STILL BY ANDREW COOPER. I. PANDORA'S BOX. ELEVATIONS. J. & K. NAZI OFFICE. ILLUSTRATIONS BY RICK BUOEN. G I J K