ADG Perspective

KITCHEN WINDOW 207 KITCHEN WINDOW 207 KITCHEN WINDOW 207 KITCHEN WINDOW 207 At one week out, most of the sets were only just turning over to the set decoration team. Dressing piled up around the stage perimeters, poised to y in. Just then, David was inured in a terrible accident. He was unable to continue. Never do I wish on anyone the feeling I had as I realied that this amaing set decorator could not come back. he sets had not been dressed, and we were one week out. Enter the incomparable Barb Cassel. o all of our fortunes, Barb had become available and agreed to ump in. She took the baton without missing a beat. She and her team and Cheryl did amaing work. Despite every obstacle, they hit it out of the park. I'm sure she will be the fi rst to agree that David teed up a pretty good ball for her to take a swing at. While the Graphic Artist, J Searl, recreated the four magnifi cent stainedglass windows in the master stairwell, I turned my attention to the custom backings that would surround the front yard. I gave Lynne at JC Backings a call to get things in the works, but only minutes into the conversation I realied there was no time to create a backing from scratcha moment that eventually happens when working with such abbreviated prep times. As a response, I was able to fi nd in JC's stock backings a very nice, suburban street view, lined with old arching oak trees, the perfect start for a Connecticut neighborhood. Instead of shooting the full street at the pilot's location, I asked Pierre to come out to shoot only one house, directly across the street. He was able to augment the existing stock backing by dropping in that single house. he backings were hung, the incredible Roger Prater of the Warner Bros. greens department dressed in layers of trees and bushes, then brush and then leaves on the ground. Plasterers cut in the bricks, wallpaper was hung, fi replaces were made practical, and the spindles arrived from Florida and were stained for installation. Jason and his team varnished and aged and waxed and peeled and carved all the details. Sconces were mounted and the Family Plot red velvet couch, recreated by ictor at Warner Bros. upholstery, was dressed in. A stu ed marlin was hung on the tiki room wall, and we literally skidded over the fi nish line with only moments to spare. I've always believed that technology is an amaing asset to make use of in the Art Department, new tools should always be welcomed and embraced. In this goaround, working in such a condensed preproduction scenario, I can say without a doubt that had we not had the foresight to generate the Matterport scan of the location, I do not believe we would have succeeded as we did. Being able to reference the 3D model of the location created a sort of bu er to keep the speeding freight train of construction moving forward along the tracks we designed. But, at the end of the day, it is still ust one of the tools used to make our magic. Across stages , and , the crew cobbled together he House That Keeps on Giving. This success was achieved by all of the amaing facets of the AR DEPARMEN working together as one. ADG A-C. PHELPS' HOUSE KITCHEN. DESIGNED AS A 50S RENOVATION. SKETCHUP MODEL BY CHRIS HAND. D. PHELPS' HOUSE KITCHEN. PLAN DRAWN BY CHRIS HAND. E. & F. PHELPS' HOUSE KITCHEN. SET PHOTOS BY KAT MARCINOWSKI.. G. MATTERPORT SCAN OF THE PILOT LOCATION. Jeff Schoen, Production Designer Elizabeth Cummings, Art Director Chris Hand, Assistant Art Director Amy Heinz-Barnett, Dan Maltese, Set Designers Jane Fitts, TJ Searl, Graphic Artists David A. Koneff, Barb Cassel, Set Decorators G

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