Issue link: https://digital.copcomm.com/i/1184216
his own warehouse. Richard Salinas relished the opportunity to recreate period finishes on everything from cabinetry, to carriages and wagons, on sailing vessels, and the train car. Camera god John Toll, from whom I learned a tremendous amount, was like another part of the Art Department. Collaborating with him made for another career milestone. And our leader, writer/director Kasi Lemmons. It was her energy that motivated everyone on the production. She lifted us, continually through all of the challenges we faced. I had not before experienced a crew so dedicated to the successful completion of a project for a director. Last, but most important is Harriet Tubman. Her story and her spirit guided us. When faced with tough situations regarding the making of the movie, we often found ourselves asking, "What would Harriet do." Perhaps in her we found, when needed, the additional energy required to tell her story. ADG A B C A. MARIE'S ROOMING HOUSE. SET PHOTO. B. PORTRAIT OF MARIE. PLAYED BY JANELLE MONÁE. C. MARIE'S ROOMING HOUSE. SET PHOTO. D. REVEREND GREEN'S CHURCH. PHOTOSHOP CONCEPT ILLUSTRATION BY JOHN EAVES. E. & F. THE INTERIOR OF REVEREND GREEN'S CHURCH. SET PHOTOS. G. REVEREND GREEN'S CHURCH EXTERIOR. BUILT FOR A LIMITED SERIES PROJECT ABOUT 11 YEARS AGO. IT WAS IN PRETTY BAD SHAPE WHEN FIRST ENCOUNTERED. EXTERIOR AND INTERIOR OF THE CHURCH UNDERWENT EXTENSIVE DESIGN WORK, INCLUDING THE SUBTERRANEAN HIDING PLACE. SET PHOTO. H. BRIDGE. PHOTOSHOP CONCEPT ILLUSTRATION BY JOHN EAVES.