Issue link: https://digital.copcomm.com/i/1433736
5 8 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 that did a bit of our work for us. Our crew had to do some repainting as this very staid religious family would not have pink and yellow walls. Once we had the neutral tones throughout the house, we began the decorating. The general decorating scheme was neutral palette, worn, mismatched furniture, religious overtones with evidence of a big family. For instance, the room o the living room was turned into a bedroom for three of the kids with small twin beds, mismatched bedding and mostly homemade toys. Next stop, college. Tammy met Jim at North Central Bible College in Minneapolis, Minnesota. Their relationship moved quickly, and they soon were wed and spreading the gospel on the tent revival circuit. I learned most tent revivals did not take place in tents, but in large one-room structures surrounded by shanty houses. Several ones were still standing and the production found a beautiful one with seating for over one thousand people. Unfortunately, the scene was cut for time and we had to abandon this beautiful location. Tammy, who had a gift for voices and mimicry, made a puppet out of a pig shampoo dispenser based on Porky Pig. Art Director Charles Varga, who is an incredible researcher among his other talents, found the original shampoo bottle online and ordered it immediately, along with all the Bakkers' promotional items for their ministry, which would become invaluable later on. Prop master Beau Harrison quickly claimed it for his own and turned it into usie Moppet, the first of many puppets Tammy (and Beau) would create. The Bakkers would use the puppets in their traveling gospel show to much success. They were soon discovered by Pat Robertson, who gave them a children's show on CBN (Christian Broadcasting Network) and later gave Jim Bakker the hosting gig on The 700 Club. When Jim and Tammy Bakker got too popular, they were booted from CBN and almost all of the tapes of the show were destroyed. All there was for reference were a few grainy images from the documentary and a couple of black-and-white photos Charles found in the internet weeds. It turned out to be enough A. TAMMY'S CHILDHOOD HOME. PRODUCTION STILL. B. TAMMY'S CHILDHOOD HOME. PRODUCTION STILL. C. TAMMY'S CHILDHOOD HOME. SET PHOTO D. TAMMY'S CHILDHOOD HOME. SET PHOTO E. CBN SET. SKETCHUP MODEL BY CHARLES VARGA. A B C D