Issue link: https://digital.copcomm.com/i/1449234
Art Director Elizabeth Cummings parsed out the drawings between Set Designers Amy Heinz- Barnett and Dan Maltese, and worked together with Assistant Art Director Chris Hand to bring all the elements of the many sets together. Construction coordinator Dwayne Franks was already very aware of the new COVID protocols, having literally worked hand-in-hand with others to develop the White Pages. His guidance was invaluable. He, along with general foreman Ed Nua and lead painter Jason Paolone helped us avoid, or at least be as prepared as possible, for impending labor shortages and supply chain shortcomings. Through their foresight and tenacity to deliver the best, they were able to source pallets of luan and other basic building materials from as far away as one hundred miles, always just able to keep up with the sets' needs, or to quickly shift the daily work schedule to ow with almost constantly changing material availability. When it came time to turn the three hundred sixty spindles needed for four staircases, the Paramount moulding shop was too busy. After exhausting every possible source throughout Southern California and the whole of the Southwest, Ed fi nally tracked down a guy with a lathe in Florida, on vacation. Truly, amazing e orts time and time again. The Art Department shared the 3D model of the location generated by the Matterport scans with construction. This allowed them to walk through the portions of the house we were matching on the stages, to verify specifi cs and stay ahead while we were fi nishing detail drawings in the o ce. Dwayne's talented team was a oy for our department to work with as we battled together to continue moving forward in a constantly changing environment that called for so many quick solutions to supply chain obstacles and labor shortages. While reconciling the set drawings between our designers, usually via email or Zoom, Elizabeth began the process of sourcing and recreating the many wallpaper designs. We found a oral paper that recalls the long hallway walls from The Shining, and another pattern close to the yellow owered walls in Rosemary's Baby's kitchen. I wanted the Phelps' kitchen to be lighter in value than the rest of the house. I wanted it to feel like they were coming in from the dark. It's the family's meeting room, where they inevitably come together and share space, if dysfunctionally. It is a place of safety. Four doorways lead away from the kitchen, through each one moves into the dim lighting and darkness of the heavily wood-trimmed house, and uncertainty. F. PHELPS' HOUSE BASEMENT TIKI BAR. DESIGN DETAILS DRAWN BY CHRIS HAND. G. & H. PHELPS' HOUSE BASEMENT TIKI BAR. SET PHOTOS BY KAT MARCINOWSKI. F G H