Issue link: https://digital.copcomm.com/i/1257029
22 Penny Dreadful: City of Angels is Logan's second version, and is a much different one. Taking place in Los Angeles in the year 1938, it dramatizes the multitude of social pressures, raised to the boiling point in this fast-growing city, on the eve of the Second World War. At the center of the scenario is one Mexican-American family, the Vegas. Events around them are being manipulated by the extremely malicious Magda, a powerful evil spirit. In addition to causing pain, suffering, and death for humans, Magda delights in tormenting her sister Santa Muerte, the Angel of Death, who has taken an interest in the Vega family. This show has it all; from family dinners to gruesome murders, huge dance scenes, Pachukos, Nazis, bad cops, corrupt politicians, the Jewish mob, sex with evil spirits, eternal salvation, riots, and a devil child. Something for everyone, with a touch of social commentary to boot! When I was contacted by Michael Aguilar and Mark Tobey to see if I was available to mix a show with them in the fall, I was very excited. I met Michael Aguilar on the Showtime show, I'm Dying Up Here, a dark drama about standup comedians, circa 1973, a show with many sound challenges. Penny Dreadful would present its own set of challenges. For a television production, Penny Dreadful: City of Angels was huge—literally and figuratively. It was well funded, with a wonderful large cast, including Natalie Dormer, Nathan Lane, Daniel Zovatto, Adriana Barraza, Rory Kinnear (the only cast member who was in the first Penny Dreadful), Kerry Bishé, Michael Gladis, Piper Perabo, and Adam Rodriguez. The show used all three stages at Melody Ranch, and every inch of Melody's backlots. There were also permanent and swing sets at the LA North stages in Santa Clarita. Exterior scenes usually had at least one hundred background artists and dozens of period cars. My teammates for the show were Rob Scott as Boom and Kris Manning as 2nd Boom/Utility. Rob is the consummate sound person. Though he is a very accomplished production mixer in his own right, Rob also loves to boom. He's got first- rate chops on a Fisher, and decades of dancing alongside cameras with a boom pole. Great with plants, his physical skills are matched by his people skills. A calm diplomat, with a wry sense of humor, yet always tactfully representing the interests of our department. Ever the gentleman, he easily earns the respect of the other departments on the set. Kris Manning, a protégé of Peter Damski, has been working with me on and off for about six years. I use a second boom so often that I only hire very competent boom operators as sound utility. Kris always has my back and is a whiz with the wires. A wonderful team! Though I knew the show would be fun, it would also be a lot of work, and this team has enjoyed working hard together. We had finished the first season of All American, earlier in the year. That show had a large ensemble cast and a tight schedule, shooting football games at night, ten-plus speaking parts, often in the rain; so, my confidence in this team was high. The Director of Photography John Conroy ISC was the "Minister of Image," who had photographed the first Penny Dreadful series, and John Logan asked him to do it again for Penny Dreadful: City of Angels. A second-generation DP, John's work was amazing. His complete understanding of all of the departments functioning on the set, manifested itself in his choreography of the day's work. John uses only prime lenses, an extensive use of cranes of all sizes, a Steadicam, but no handheld shots, and creates an extremely solid look for the show. Crucially, John always acknowledged the Sound Department, frame lines were very accommodating for the booms when the actors got around to talking. John Conroy, along with alternate DP Pedro Luque, captured the grandeur of Maria Caso's production design. Two of our exterior sets, North Main Street and Belvedere Heights, ran for several city blocks in almost any direction. Belvedere Heights was the barrio home to the Mexican- American community, and covered most of the backlot of Melody Ranch. When a Sound Department has the cooperation of an entire company, coming to work every day is fun. We could never have achieved the results we did without the continual help of all the departments. The camera crews were a pleasure to work with, and always helpful; James Reid on "A" camera and Steadicam, and Andrea Rossetto on "B" camera, exemplified "old school" skills using all the new toys. Nowadays, we mixers watch the Camera Department's operation in great detail, noting a perfect dramatic focus rack, or knowing that a particular dolly move will end up in the finished product because it was just perfect. It was a pleasure to work with our Focus Pullers, Kevin Akers and Steve Taylor-Wehr, who were excellent, as well as our Dolly Grips, Tommy Ruffner and Tommy O'Connell. There was mutual respect between camera and sound. Gaffer Ed Maloney, who led our set electric crew, was always attentive to our needs. Paul Perkins, Key Grip, moved heaven and earth on a daily basis for the show, yet was always ready to help sound. When I walked on set, and held my fist in the air where I thought a plant mic should be, Paul would have the grip support there in seconds. Christie Wittenborn, Costume Designer, whom I met on I'm Dying Up Here, had a field day with Penny Dreadful. Aside from her skill in design, she has a core crew that is the epitome of professionalism. Lili Acevedo and Alejandro Hernandez, Key On-Set Dressers, were adjunct members of the Sound Department when we wired talent, their assistance was exemplary. We also received invaluable assistance from the Art Department; Assistant Prop Master Pat Russo was proactive in quieting props, while Set Dresser Mike Chang would graciously allow us to use his furniture as mic stands. Music is a large part of Penny Dreadful: City of Angels. Claire Newman, our Post Producer and resident logistical magician, guided the creatives involved in all of the music scenes, and because of her efforts, everything happened on target. With her calm demeanor and attention to detail, she reassured Peter Rotter, Music Producer, and Music