Issue link: https://digital.copcomm.com/i/1196709
First, it was crucial to fi nd a body of water that worked, in this case, on Disney Ranch. The houseboat design was scaled to fi t right into this landscape e ortlessly. I wanted an ld-School Generational Family-Owned" feeling which drove the design with elements such as a loft bedroom, rich paneling, vaulted ceiling and a salvaged skylight. The houseboat was built in the Fox mill, then disassembled in order to transfer it to the lake. While it was being built, a foam pontoon and deck was constructed on the lake to receive the pieces. The houseboat was reassembled and then painted, aged, decorated and eventually towed to its fi nal resting place, next to a small existing dock. It fi t awlessly. After shooting the location sequence, the houseboat unit came back to the stage where it played for the entirety of season one. This stage setting was enhanced by a fabulous 180° translight which was actually a painted backing that JC Backings re-photographed to be able to work as a backlit lagoon day and night drop. All of this was done in record time. The Second First Church of the Cumberlands was the most important location that needed to be found for the pilot. In the deep recesses of the San Fernando Valley lies the community of Piru. It has a 120-year-old intact church that provided a wonderful backdrop to the story. An adjoining cemetery was added to complete the look and narrative. Upon receiving the word that the series was picked up, the Art Department started the process of designing a stage version of this church. The production had a wonderful facility allowing us to line up fi ve uniquely di erent sets for season one, the church being the most beautiful with its stained glass, woodwork and direct sightlines from room to room, making it quite an impressive place to shoot. The organ pipes were found in hio, the fi xtures came from a variety of prop houses and most importantly, the vintage seating was rented from the original church, which had subsequently been sold. The wind was at our back to put this type of set together with such authenticity. It's important to say that actors and visiting directors feel very at home in every one of our sets—a compliment to the crew and their passionate approach to the work. A. ARTHUR'S HOUSEBOAT ON STAGE AT THE CHATSWORTH FOX LOT WITH GREENS AND BACKING. B. & C. INTERIOR OF ARTHUR'S HOUSEBOAT. D. CHURCH EXTERIOR AND GRAVEYARD, SHOT ON LOCATION IN PIRU, CA. E. CHURCH INTERIOR. SKETCHUP STUDY MODEL BY RON YATES. SHOWS LOCATION OF SET AROUND THE STAGES' EXISTING SUPPORT POSTS. F. CHURCH ELEVATIONS. DONE IN SKETCHUP AND LAYOUT BY RON YATES. SET PHOTOS BY ALAN SHAFFER. A B C