Issue link: https://digital.copcomm.com/i/1196709
the Duke, played by the ieran Shipka. The oating curve would have illuminated letters on both sides. nfortunately, there wasn't another stage large enough to accommodate a -square-foot roof with an adequate distance from the stage walls. A relatively small set, but being an exterior, the distance to the backings is vitally important. The stage could provide the required distance for only one hundred eighty degrees. So what was the solution? uild the set on wheeled scaolding. It could then be rotated for the dierent camera angles. So, back to that wae sign so boldly standing in the middle of an artificially snow-covered parking lot. n wheels so it could be moved to whatever position worked best for the camera angle. y back was turned as I continued my talk with Luke. Suddenly, I heard someone say, ey, it looks good! I turned around and before me was the beautifully lit sign glowing against a jet-black night sky. We could now move on with what was to be the ending of the film, a high-angle shot, through the lit WAFFL letters, revealing the tow truck driven by the angelic narrator played by oan usack. So what had happened There was a mismatch between anadian and American connectors, a -minute fix. So I guess the moral of the story, better to wait a tic before bearing bad news. ADG E. PRODUCTION STILL OF A ROMANTIC MOMENT ON THE ROOFTOP SET BUILT ON STAGE 3 AT PINEWOOD STUDIOS TORONTO. F. THE WAFFLE TOWN SIGN STANDING IN THE PARKING LOT OF SANTA ANITA PARK AS A FOREGROUND ELEMENT FOR NIGHTTIME RESHOOTS. Toby Corbett, Production Designer Aleksandra Marinkovich, Supervising Art Director Tania McGowan, Esther Kao, Assistant Art Directors Gordon Pederson, Corinna Schmitt-Porsia, Set Designers Jon Hunter, Eugenie Lau, Graphic Artists Rosalie Board, Set Decorator E F D