Issue link: https://digital.copcomm.com/i/1349602
corners so the reections of ames could bounce on the waters below. Director of photography Toby Oliver, a constant ally, had a field day lighting the pools to send caustics dancing up the walls. Shameless homage was paid to en Adam and his Bond legacy, with a bit of Gianni Versace thrown in for good measure. I love circles; they appear throughout the movie to confer happy, olly vibes. In the lair, I wanted to see how evil a circle could be. Hence, round entry tunnels led into the chamber. Walkways were edged in circular stanchions. The chandelier was a giant steel ring of red plexi blades. Five circular windows with brass casings punctuated the walls on two sides. Behind two windows, Austrian curtains could rise to reveal tiled laboratories where cows underwent unspeakable experiments. Viewers might notice the cowhide pillows and rugs scattered through the chamber, a nod to those expired animals. A few pillows even had bovine ear tags still attached. The crew all had a blast creating this world. The fun continued in Albuquerque for one final week where decorator Peter Stephenson and Art Director Rosario Provenza opened nineteen new sets that ranged from the saddest eabag hotel room in Vista del Mar, to the cheeriest front yard and living room for Barb and Star's Nebraska home. I always believed there was a little angel on my shoulder steering me through this whole wild ride. Now that I think of it, there may have been two perhaps I should ust call them Barb and Star. ADG Steve Saklad, Production Designer Rafael "Ram" Mandujano, Supervising Art Director Juan Pablo García Tamés, Yosafat Delgado, Rosario Provenza (NM), Art Directors Steven Maes (NM), Assistant Art Director David Soto, Jaime Rivas, Set Designers Juan Pablo García Tamés, Illustrator Karla Mandujano, Raquel Fierro, Graphic Artists Mariana Castañeda, Peter Stephenson (NM), Set Decorators D E F