Issue link: https://digital.copcomm.com/i/1449234
S H I N I N G VA L E | P E R S P E C T I V E 6 3 own history and presence, bit by bit. The storylines of its inhabitants, the layers of dysfunctional family, inner demons, insanity, addiction, adultery, murder, all intertwined with comedy, would play out against this backdrop. The house needed many layers to peel away. he three of us myself, Je Astrof and Dearbhla Walsh, the director of the pilot), had no idea what a horromedy was, or could be, but we all agreed that it needed the look and feel of the classics. Kubrick, Polanski, Forman. It needed scale, scope and color, like The Shining. It needed the presence and weight of the Dakota Building in Rosemary's Baby and the torturous decay of One Flew Over the Cuckoo's Nest. ogether, we ri ed on what makes these fi lms and others like them great, and allows them to stand fi rm against the decades, so that even though forty or fi fty years may have passed since fi rst watching, one can still FEEL what these fi lms LOO like. We wanted to bring this kind of emotional presence to our old mansion, to evoke a gut reaction that this is a place where bad things can happen. It became clear that our starting place was reality. Fear and horror become magnifi ed when what is most familiar becomes strange, and truth becomes question. Here, the most unlikely and unbelievable become possible, and, of course, it will be coming for you… The production started with our familiar place, the trope of the scary old house that must be haunted. But this old house, in its aging grandeur and decay, would be normal, just a house, and the audience A. ATTIC.ORIGINALLY BUILT FOR THE PILOT, INSTALLED IN A WAREHOUSE ON A 4-FOOT PLATFORM TO ALLOW FOR ENTRANCE UP STAIRS. PRODUCTION STILL. B. ATTIC. SKETCHUP MODEL BY JEFF SCHOEN. C. ATTIC. VIEW OF MODEL BY JEFF SCHOEN. C B