Issue link: https://digital.copcomm.com/i/1177962
G O L I A T H | P E R S P E C T I V E 9 7 G off Interstate 5, was closed due to snow, or a location was too fl ooded to shoot. A small, dried- out lakebed with overturned boats was chosen to stage a desert artist's colony, but it rained so heavily during preproduction that the location actually became a lake again. Set decoration and construction teams spent fi ve days in that rainy mud pit moving around trailers and building giant art sculptures, followed closely by a tractor brought in to drag the road to prevent the equipment from getting stuck in the mud. Camera fi lters were utilized to help create a drought eff ect, and the pattern and color choices needed to be tested in front of the lens to make sure the desired look was maintained as the fi lters progressed from drought 3, to 4 and to 5. For all intents and purposes, Goliath is a courtroom drama. However, at the beginning of the season, there was no intention of needing a courtroom. It should have been no surprise that before long, the Art Department would have to quickly design and build one for this legal series. Unlike the courtrooms of seasons past, this set needed to have a turn-of-the-century feel to fi t within the fi ctional Blackwood County. In keeping with a rotunda motif established for particular scenes, the balustrade, judges' bench and witness box followed a similar curvilinear path. To the credit of the fantastic construction and scenic teams, this set was built quickly while maintaining a strong visual integrity. Not having the time or funds to use stain grade materials, the wood in E. EXTERIOR. BENNETT FARMHOUSE. PRODUCTION STILL. F. INTERIOR BENNETT FARMHOUSE, LIVING ROOM. BUILT ON STAGE. SET PHOTO. G. BENNETT FARMHOUSE FLOOR PLAN. DRAWN BY ANDREW LEITCH. H. INTERIOR BENNETT FARMHOUSE, KITCHEN. BUILD ON STAGE. SET PHOTO. I. BUSINESS DISTRICT FLAG. GRAPHIC LAYOUT BY MONICA FEDRICK. E F H I