Issue link: https://digital.copcomm.com/i/1438629
through the pages of aggies script. r maybe the promise of a editerranean sun in the midst of lockdown made us all instant belieers. rom a logistical iewpoint, in the summer of , reece had low infection numbers and recently implemented fi lm ta incenties. The producers cautiously agreed to hire local scouts, and we started scouring the land for a possible shooting location. s m sure many colleagues realied during this past year, virtual scouting is both extremely helpful and uite deceiing. found it hard to compare photos of beaches and pine groves, or to get a real sense of interior layouts. Remote scouting was not the only challengesince ours was one of the fi rst productions slated to shoot post lockdown, the producers were ery concerned with safety and pushed to stay away from major cities in order to create a shooting bubble. en though the script called for ashback scenes that took place in the S and ngland, we eroed in on a small island off the coast of the eloponnese called Spetses. aggie and the producers felt that if we could seuester our team on the island, with strict uarantine guidelines for all cast and crew, we would be relatiely safe. oweer, with no infrastructure for fi lmmakingnot een ehicles were allowed on Spetsesthe producers were hesitant about our ability to recreate scenes set in foreign urban interiors, such as an ast oast apartment or a ondon hotel. eryone looked to me for a plan, and of course, with our already meager resources further dwindled due to safety costs, that plan had to be very modestly priced. ooking for outofthebo solutions, had instructed the scouts to photograph any unusual buildings on the island, hoping to come across A. YOUNG LEDA'S APARTMENT. TOP VIEW. SKETCHUP MODEL BY MARC WHEELER. B. YOUNG LEDA'S APARTMENT KITCHEN. SKETCHUP MODEL BY MARC WHEELER. C. YOUNG LEDA'S APARTMENT. IN PROGRESS. D. YOUNG LEDA'S APARTMENT. SET PHOTO. A B C D