Issue link: https://digital.copcomm.com/i/1449234
design, which grew after taping out the interior spaces on stage. He then added so much heavy detail to the 3D model that we joked its density of polygons could "bend light!" Site prep at the empty fi eld turned out to be a colossal e ort. Access roads were bulldoed, and a building site was prepped with proper drainage accounted for. The production also had to work with a local farmer to plant acres of barley in his lower fi eld and corn in the upper fi elds, all timed so they would be the appropriate height during our small shooting window. For Egon's barn, Jason recalled one of the incredibly unique barns that we had scouted back in March, with a collapsed roof, failing from years of heavy snowfall. he Art Department Dscanned the structure and imported it into our location and it married beautifully with our farmhouse. The location department convinced the barn's owner to sell us the structure and the construction team formulated an elaborate plan to move the barn to our location. This involved fully sealing the barn in a clear lacquer in order to encapsulate the peeling lead paint, and also reassembling the collapsing barn in a way for the shooting crew to safely work within the set. After the farmhouse and barn were erected, cryptic clues to Egon's obsession with Summerville were peppered throughout the space through the meticulous work of set decorators Peter Lando and Paul Healy. Half a doen 0s Cadillacs were dressed around the farm—a repository of parts perhaps? One of the most fun rooms to create at the farmhouse would turn out to be a secret underground lab that was built on stage. I was inspired by underground storm cellars, common to ornado Alley, and research taught me that they were sometimes comprised of steel shipping containers, so I leaned into that coste ective approach. The secret lab housed all the objects that we imagined Egon had taken with him from New A. A 50-FOOT LONG BARN WAS PURCHASED, DISMANTLED AND MOVED 71 MILES TO LOCATION, WHERE IT WAS REASSEMBLED. ELEVATIONS OF 3D SCAN DATA BY EVAN SPENCE. B. & C. FARMHOUSE INTERIOR. PRODUCTION STILLS BY KIMBERLY FRENCH. D. SECRET LAB, BUILT ON STAGE. ILLUSTRATION BY MILENA ZDRAVKOVIC E. SECRET LAB. SET PHOTO. F. SPINNERS SIGN GRAPHIC BY MARIE MASSOLIN. G. SPINNERS LOCATION BEFORE. SET PHOTO. H. SPINNERS. MODEL PERSPECTIVE VIEW IN SKETCHUP BY NATHAN BLACKIE. I. SPINNERS. PRODUCTION STILL BY KIMBERLY FRENCH. A B C