Issue link: https://digital.copcomm.com/i/1449234
the boys bathroom and built a stall door that would ing open for the cherry bomb special eect. A challenge was sourcing the quantity of period medium format cameras and lighting equipment for the photo day setup. Prop master Will Potter was able to track down photographers from this time who gave firsthand accounts for setups and kindly rented out their goods. he color of the gym was intact from the era and perfect for our palette, the bold use of subdued colors from the period. Gary's House ract house developments were prevalent in the early 0s. As the population boomed in the San Fernando alley, farms were torn down and in their place bloomed threebedroom tract home neighborhoods. I assumed that these homes would still be relatively available; however, houses in the area are getting ipped into modern white boxes with black windows. Surprisingly, it proved to be very dicult to find Gary's house. A relatively untouched model home piqued my interest through a real estate listing. Although the firsttime homeowners were in the process of remodeling, they were intrigued by the film's mission and graciously held o on removing the popcorn ceiling, original aluminum sliding windows, doors and wallpaper until after shooting. o their horror, we brought back in the dingy brown carpet found in all alley homes of the time. We crushed up cheese pus, pretels and dirt as the top layer to lead painter Adrian alde's master aging of the carpet, and he repainted and aged all the walls back to an owhite choice inspired by the film Foxes. I selected vintage wheatgrass wallpaper for the foyer and family room and walnut wood paneling from the itchen Store to add texture without pattern. One of my favorite details is the custom kitchen wallpaper, photographed from another local home, that Graphic Artist Dianne Chadwick formatted to be custom printed at Astek Wallcovering on low tact wallpaper. In general, I distilled and simplified the interiors down to not muddy the frame. A-D. INTERIOR GARY'S HOUSE. SET PHOTOS. E. TAIL O' THE COCK EXTERIOR. PHOTOSHOP ILLUSTRATION BY ALISTAIR MILNE. F. TAIL O' THE COCK SIGN. SET PHOTO. G. TAIL O' THE COCK INTERIOR ELEVATIONS DRAWN IN VECTORWORKS BY ANDREW LEITCH. B C A D