Issue link: https://digital.copcomm.com/i/1470106
the dark. A decadently metaphorical red canopy of blood! Had he been a modern-day vampire, Tiberius himself might have found this den of vice a suitable modern-day replacement for his villa on the Isle of Capri! Onto another pit stop, a VIP room at a vampire hangout club, which witnesses a deadly fight and is ironically constructed of Frank Lloyd Wright pre-Columbian blocks. The blocks are completely covered in a black automotive finish to give them a modern twist. The irony here being that the vampires have constructed a room that harkens back to the ancestral lineage of their human enemies, Jay's gang and their Mayan roots. Hallucinogenic images were projected on the ceiling of the room during the fight in order to emphasize the struggle that Benny is having attempting to come to grips with everything that is happening to him during the evening. There is a feeling of a sacrificial Aztec chamber, and the hallucinogenic images on the ceiling are a reminder of the drugs administered to the Aztec sacrificial victims. I rather liked this set to be honest, it felt like the Stygian underbelly of decadent vampire nightlife. After a delay due to COVID, the production made its way to Los Angeles, for part deux of Night Teeth. In dear old Los Angeles, I was joined by Art Director Timothy Hildebrandt Stuart and set decorator Debra Echard. We still had four weeks of shooting, actually a very important four weeks as the scenarios we would film in Los Angeles, especially the nighttime driving exteriors, were critical in order to convince the viewer that they had never left LA. My favorite set filmed in Los Angeles is the opening laundromat, where the audience first meets ay. Sasha' Stolin created and painted an incredible mural that wraps around the entire interior of the laundromat. It was one hundred feet in length, and told the history of both factions, how the vampires had come from Eastern Europe escaping religious purges against them, and how Jay's and Benny's forefathers had established an agrarian foothold in East Los Angeles. In fact, all the murals that were painted in both New Orleans and Los Angeles are a wonderful sight to behold, and there were indeed many of them. Benny's psychological anxiety is prevalent throughout the narrative of this film as its story unfolds, and my greatest desire with regards to the look of the film was to drive and suggest this anxiety. Benny goes from a place designed to offer nurture and safety and is thrown right down the proverbial rabbit hole. Each environment will suggest in a wry manner, a portent of what the future holds for Benny this night. I humbly consider this film to be a bit of a romp, and with that territory comes the playfulness with how all the design elements were mixed together, and I hope that the tongue-in-cheek side shows through in the final design of Night Teeth. reat thanks must also be given to Netflix and 42 Films for getting this film started and finished in extraordinary circumstances. ADG E. BLOOD COLLECTION ROOM. PRODUCTION STILL. Jeremy Reed, Production Designer James Gelarden (NO), Timothy Hildebrandt Stuart (LA), Art Directors Jessica Alejandra Ochoa (NO), Set Designer Henr y McGee (NO), Geoffrey Mandel (LA), Graphic Artists Alexander 'Sasha' Stolin, Mural Artist Kristin Bicksler (NO), Debra Echard (LA), Set Decorators E