Issue link: https://digital.copcomm.com/i/1433736
This is where the fi rst impressions of their actual dressing rooms came into play. We did huge walls of mirrors in their bedroom. Very grateful our cinematographer, Mike Gioulakis, was more than up to the task. We carpeted the house in wall-to- wall white shag carpet, with white velvet couches. We decorated the living room with huge portraits of Tammy, a white piano, gold accents and loads of fake plants. As they got richer, we added more gold accents, going so far as to paint all the plants gold. Later only to see it being hauled away after their downfall. Before moving on to the design and build of their studio and Tammy's dressing room—I would be remiss if I did not mention Tammy's love of dolls. She was a collector. In one interview, we found she is quoted discussing her love of dolls, going so far as to admit to having life-size dolls (mannequins?) sitting at her dining room table in her home. We collected hundreds of dolls for this fi lm from thrift stores on the outskirts of harlotte. ne great fi nd was Wanda's Good tu . A literal supermarket converted into a usedstu store with a basement full of...more stu . Wanda's became our goto prop house and Wanda herself, our historian. Pointing our jelly jars that were used as glasses in her childhood, digging up three boxes of unopened Tammy cassettes, one hundred small Christmas tree skirts, all the glassware for Tammy's cupcake decorating segment, not to mention the endless supply of vintage dolls. Thank you Wanda... Strangely enough, one of the greatest challenges was not a creative one. It was the same question the production had encountered before, where to build?? We needed a large space, big enough to house not only a merging of Jim and Tammy's sets, but their backstage halls, Tammy's dressing C D E F G