Issue link: https://digital.copcomm.com/i/1349602
hundred bulbs (+600 for the frame) augmented by Damon and his team. It was controlled by Scott Barnes on a Hog 4 lighting console by High End Systems. This sign was used on the exterior set, disassembled and then reassembled at Paramount Stage 15 for the interior of Sardi's, and visually danced both times. It is now rentable at Heaven or Vegas! There were an additional eight thousand light bulbs and five thousand feet of LitGear Cinema Hybrid LED used on the additional signs and marques through the street. Knowing that one wall of Sardi's was featuring windows and the marquee allowed the rest of the set could take shape, including spinning booth banquettes. Development of what was happening at Paramount Stage (15) with Sarah Delucchi and the stage build team was symbiotic to that of the exterior downtown set. Any downtown challenge (glass size and sign placement to name a few) became Paramount stage challenges as well. It is a test of skill, logistics and patience on all departments. We knew the patience paid off when watching the film. Sets were used the way Jamie had designed them to be. Ryan Murphy and the choreography team used all of the sets to their capacity. A few songs were trimmed down for the film, but during filming what was given was used. Director of photography Matthew Libatique aided in that as well. Up, down, behind and around, he D. 44TH STREET SET. PRODUCTION STILL. E. INTERIOR OF SARDI'S SHOWING THE ELEANOR! MARQUEE OUTSIDE THE FRONT WINDOW. F. MARQUEE MOTIF USED FOR THE OPENING CREDITS. G. MARQUEE MADE UP OF JARAG UNITS. D E F G