I ' M Y O U R W O M A N | P E R S P E C T I V E 7 1
The car chase and crash scenes presented the
challenge of potentially seeing too much of the
2019 world on an already tapped budget. The city
of Mceesport off ered many older buildings and a
run of streets for long stretches of driving. It was,
however, mostly abandoned, so lights were needed
as well as signage, banners and posters to hide
modern elements.
The story and the shooting schedule ended in
December with the cabin. I wanted it to be a rustic
hunting cabin and yet a warm family place where
Cal had spent time as a child. To accommodate the
shooting crew, along with the babies who played
Harry, the cabin was insulated with a functioning
furnace, as well as a working fi replace. Gary osko
and Greg Jones devised moveable blinds' to hide
the equipment and routes up to the trucks on the hill
during the many days and nights of fi lming. After
many weeks of building, painting and dressing in the
rain, snow and mud, we were all quite happy to hand it
over to the shooting crew and start our wrap. ADG
Gae Buckley,
Production Designer
Gary Kosko,
Art Director
Kate Dougherty,
Set Designer
Brad Towell,
Graphic Artist
Patrick Cassidy,
Set Decorator
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