Issue link: https://digital.copcomm.com/i/1438629
urban blight in LA neighborhoods, the houses are too nice, there are palm trees and too much sky. We ended up splitting the interior from the exterior. Shooting the exterior in Compton and using the interior of the house in South Central LA. There were so many scenes in the interior of the house that it would have been wise to build it onstage. Instead, the production had to knock out walls and put in removable plugs to make enough room for the camera and the crew. I loved the architectural details that were in the house chosen for the interior location, but Isha Williams, who was a producer on the film, thought the details were too decoratie. Her memory of the house that she grew up in was of a house with plain white walls with no decorative details. No wall hangings at all. Set decorator Amy Wells and I worked very hard to keep the dressing to a minimum, which still wasn't enough for Isha Williams. I had to explain that we were not doing a documentary and that part of my job was to tell a story about the family through the use of architecture and set decoration. inding the ast ompton ark location took some time. The park needed to be in a rundown neighborhood. The story needed houses on the perimeter of the park. We needed a place for the gang members to hang out. And we needed A. THE WILLIAMS' HOUSE INTERIOR LOOKING TOWARD THE KITCHEN AND OFFICE. DRESSED LOCATION IN SOUTH CENTRAL LA. SET PHOTO. B. RICHARD'S HOME OFFICE. SET PHOTO. C. THE COMPTON NEIGHBORHOOD COURTS, SHOT AT LEON WASHINGTON PARK IN LA. SET PHOTO BY CHIABELLA JAMES. C B A