Issue link: https://digital.copcomm.com/i/1438629
adust the paint to the perfect drape, upholstery or personal touchstone than ice ersa. The opening scenes of Finch eploring the deastated world were among the productions largest and most etensie set builds and locations. atasha erasimoa ran point on creating the massie sand dunes and buried parking lot outside of the big bo store. e worked with location manager oug resser to shut down si blocks of downtown lbuuerue, coered the streets with seeral inches of sand, and installed false facades and frisketing to mask eery storefronts first story. ead painter and part mad scientist icky iggs found a method to blisterskin an unending line of dead picture ehicles, as if scorched by the rays of a degree sun. cannot oerstate the depth and realness icky brings to popping the life into sets. ltimately, iguel wanted to get the story on the road as uickly as possible in order to epand the scope of the film and inchs character. inchs would be the multihyphenate set piece to literally carry the iewer through the story. To match the nostalgia of inchs personal ourney, we chose the carcass of a leetwood Southwind . This would be inchs off road worthy workshop while needing to be both radiation impenetrable and a selfsustaining home. rt irector Tristan ourne and Set esigner Sam age tackled this main rolling set piece. The was less than eight feet wide, with a chassis ackedup on inch tires, and a third tagale and etra wheels added for brute strength. The eterior rooftop had an origamilike unfolding solar panel and the eterior walls of the ehicle E. FINCH AND JEFF SECURING THE RV. PRODUCTION STILL COURTESY OF APPLE. F. RV AT THE BIG BOY RESTAURANT. PRODUCTION STILL COURTESY OF APPLE. E F