Issue link: https://digital.copcomm.com/i/1349602
I ' M Y O U R W O M A N | P E R S P E C T I V E 6 7 them, including the bargain clothing store and the pharmacy. Even the hospital needed to feel like it was outside a small town with green space around it. Continuing on that theme of running away from danger and away from the city, eventually Jean and Cal reach the wooded countryside of an old rustic cabin. In this bucolic environment, Jean meets the dynamic character of Teri and fi nds her strength, learns to shoot a gun and fi nally make a stand of her own, facing the city in search of the missing Cal. From that point on, Jean is exposed to the grit and danger of an urban world to which she is unaccustomed as she and Teri escape a nightclub shoot-out and an eventual car chase. Background placement of Women's Liberation Movement posters appear subtly in these urban streetscapes as Jean struggles to right her world. One signifi cant set in Jean's story was her hide- out prior to the city; the safe house where Cal leaves her alone with the baby. The small house had to contrast with her suburban life and feel anonymous. The idea was to make it a 'nowhere place' out of time with the rest of the movie. The challenge was fi nding the right geography between a few houses both in the front and through the backyards with a scripted staircase off of Jean's second- oor bedroom. The house interior was needed for quite a long period. In the old days, there would have been no question about building the interior on stage but on this fi lm's budget, with so many other locations to alter, that wasn't an ideal solution. F 7213 7215 7211 7209 EXT JEAN'S SAFE HOUSE BACK YARD (FOR ESCAPE SCENE) INT JEAN'S SAFE HOUSE EXT EVELYN'S HOUSE BACK YARD (FOR ESCAPE SCENE) INT EVELYN'S HOUSE DN ADD WOODEN FIRE ESCAPE TO BACK OF HOUSE John Adkins and I spent weeks cold scouting throughout many neighborhoods putting together various scenarios of interiors, exteriors, etc., but thanks to John's perseverance, we got inside a house that we'd loved but had seemed off limits. Although it was in terrible condition with ceilings falling down, it had the bones for everything we needed except the staircase off of Jean's bedroom. John also got us inside all of the neighbors' houses and we put together a plan that used multiple houses within a block to cheat various interior and exterior shots. Julia loved the plan when she arrived for preproducion. For a month, the crew worked on transforming that little house into the safe house that Jean's husband had kept at the ready and hidden from her. As an aside, the owner of the location was a sweet elderly man who needed to sell but was overwhelmed by the prospect of moving. John Adkins helped him fi nd E. SAFE HOUSE NEIGHBORHOOD. PRODUCTION STILL BY WILSON WEBB. F. SAFE HOUSE NEIGHBORHOOD. LOCATION PLAN BY KATE DOUGHERTY. G. SAFE HOUSE KITCHEN. PRODUCTION STILL BY WILSON WEBB. E G