Issue link: https://digital.copcomm.com/i/1433736
4 6 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 1 blocks of the community, so it was important to evoke these memories. One other unusual item was that the actual Flenory childhood home was a hero location. The uniue geography of the home, sitting at the end of a dead-end street, with close access to a freeway entrance, largely contributed to the fact that the brothers could evade the police easily. After exhausting all our options in Atlanta, we decided to shoot the opening and all exteriors of the home at the actual property in Southwest Detroit. Needless to say, that brought much excitement to the community. I would like to add that the son of the drug lord himself, little Meech Flenory, is playing his own father, which deserves a story for itself. And the production managed, in COVID times, to never shut down—something that was a true testament to how well this show was produced. If you look at the craft of Production Design and its essence, it's deeply rooted in compassion and empathy. A designer literally, with every project, has to put themselves in someone else's shoes; over and over again. We view the world through other's eyesour main characters. We imagine the world they live in, the patterns they create as human beings in their environments and how they relate, not only to these worlds but also to themselves. This to me is the essence of my craft to put myself in someone else's shoes. The director, who posed that uestion about my professional ability, and I became very close in the process of making this series. We come from very di erent backgrounds, but so did most of the crew. We came from all circumstances, all ages and all identities. We shared stories, we shared ideas, we cried, we laughed (a lot) and we walked away having found new friendship and sisterhood. And that is what really matters. ADG A. MONIQUE'S BATHROOM. SET PHOTO. B. MONIQUE'S KITCHEN. SET PHOTO. C. LAWANDA'S HOME, COLOR PALETTE. D. LAWANDA'S LIVING ROOM. SET PHOTO. E. FOOT LOCKER. DRESSED LOCATION. SET PHOTO. F. FOOT LOCKER. LOCATION STUDY. SKETCHUP MODEL. BY CHRIS CAFFERTY. G. BODEGA. PRODUCTION STILL. H. RECORD STORE. SET PHOTO. Kathrin Eder, Production Designer Harrison Paul, Art Director Peter Johnson, Joshua Wells, Assistant Art Directors Chris Cafferty, Jenny Wentling, Set Designers Heath Hancock, Ivi Schlebach, Graphic Artists Hernan Camacho, Set Decorator A B C D