Issue link: https://digital.copcomm.com/i/1413503
The sith episode eral is a nod to the igfoot lore and all the people who disappear each year in national parks. The production had been scouting around Los Angeles for various locations that could be cobbled together to create the park, but quickly became aware we couldn't get everything we needed so o to ig ear we went There we found the exterior ranger station location on the very fi rst sout. t was perfethigh up on a ridgeline overlooking the forest below. It was quite large, signifi antly larger than what had been planned so I redesigned the interior to match the architecture and scale of the exterior, and we started building. I wanted to create a space that felt authentic but spooky. I opted for dark wood paneling and stain with a rich forest green accent wall in keeping with the tone and palette. I was inspired by various photos where the aesthetic is eclectic—vintage appliances, wood-burning stove, old metal sink unit fi rst-aid boes fi le abinets and wood furniture—and the set decoration department nailed it. The fi nale of episode si revolved around the parents fi nally loating their long-lost son. n the early draft of the sript the parents fi nd themselves in a clearing backed up against a bone totem—a monument to past victims and a larger-than-life trophy. In the early phases of the design, it was conceived as a thoughtful and intentional totem. After I delved into the character more with writer and director Manny Coto, I A. ALEX THEATER ENTRANCE WALL. DRAWN IN AUTOCAD BY JEAN HARTER. B. ALEX THEATER ENTRANCE WITH ADDED WALL. 1986 PERIOD FLASHBACK. PRODUCTION STILL. C. EXTERIOR RANGER STATION. LOCATION IN BIG BEAR. PRODUCTION STILL... A B C FX FX