Issue link: https://digital.copcomm.com/i/1349602
6 6 P E R S P E C T I V E | M A R C H / A P R I L 2 0 2 1 compact team in partnership with set decorator Patrick Cassidy and his team. If I could ever claim a superpower, it would be the ability to surround myself with talented, skilled, resourceful and fun people. This also included the construction and paint departments lead by Buster Pile and Christopher St. Pierre. In discussing broader concepts for the look of the movie, it was agreed that there was no need to make an exaggerated version of the 1970s but rather to capture the era in more subtle ways like what I'd remembered from growing up in New Jersey and college in Upstate NY. That having been said, Julia Hart loves wallpaper. While we never had any in my own home growing up, I'd grown to love it through working with her on other projects. Also, Patrick and I saw so much of it throughout our research of the era that it seemed inevitable. We A B C were able to buy some vintage papers but much of it was designed using patterns and colors from the period as inspiration. I still feel grateful to Maggie Adams as she worked with Gary, Patrick and Brad, keeping track on her spread sheets organizing and scheduling fabrication and delivery dates for so many locations. The lead character Jean's journey begins in her upscale suburban home for which her husband Eddie had theoretically hired an interior decorator. The essence from the research (and some from my memory) showed color-themed rooms like the yellow and green palette of her home. The crew wallpapered and added an Asian-themed shoi screen, as well as a free-standing fi replace in the living room as her decorator might have done in the day, along with the fabric upholstered headboard in her bedroom. Finding details like the perfect '70s double oven and toaster for the kitchen were thanks to Patrick and his amazing buyers. The last time we see Jean's husband Eddie, I wanted to foreshadow the danger he is about to instigate, so a red-textured front door was built for him to stand in front of. As he closes the sliding kitchen doors in Jean's face, Julia pays homage to Al Pacino closing the door on Diane Keaton in The Godfather, but instead of staying with the husband, the story follows the wife and child. Once Jean leaves her home and goes on the run, the fi lm goes on the road. Eddie had never allowed her to visit the city nor drive a car, so I wanted her journey to build and progress through small towns and outskirts as Jean and Cal stop in diners, motels and coff ee shops. All locations needed to have non-urban open space around A. SAFE HOUSE WALLPAPER SAMPLES IN THE ART DEPARTMENT. B. JEAN IN HER SAFE HOUSE BEDROOM. PRODUCTION STILL BY WILSON WEBB. C. EDDY WITH BABY HARRY. PRODUCTION STILL BY WILSON WEBB. D. FRONT DOOR DETAIL BY KATE DOUGHERTY AND BRAD TOWELL. D