Issue link: https://digital.copcomm.com/i/1470106
an unrealistic strategy. We were fortunate to find Art Director ho im, who had worked on other USorean productions, and she proved essential in helping us navigate these functional differences in production strategies. ho assisted in ways I am sure I will never know; she was a deft guide, as well as being a phenomenal Art Director. After a whirlwind couple of weeks, the team somehow emerged with a plan to move forward. We would shoot in eight cities (each several hours apart) taking advantage of scope and regional distinction. It was a combination of modern scale in Seoul for the 199 apanese timeline, authentic period detail in Naganeupseongan historic folk village to use as the story locale of the island village of eongdo (where we would build a boarding houseSunja's childhood home), then south to the oceanside port city of Busan and the neighboring island of eongdo to capture the novel's rich exterior landscapes for both 1910s and 190s orea, then on to the cities of Hapcheon and Suncheon to overhaul existing orean backlots to become more appropriate for apan, and then to Mopko and Nonsan for cityscape stand-ins for exterior orea and apan. We had a cap on our ability to shoot in orea as we knew that there would be no returning after the hristmas holidays, so it was crucial to capitalize on the essentials. As the builds and location work in orea began in earnest, o-supervising Art Director (anada) ustin Ludwig and construction coordinator Alan Burdett were wrangling the Vancouver team remotely. Though I had never worked with either of them, the ease of communication and their expertise in building and shooting in Vancouver were clear. That ability to communicate remotely would prove to be essential in our journey. The team in Vancouver worked on designs based on concept illustrations and sketches I had done during the incubation phase. I was fortunate to meet the illustrators led by Mark Molnar at ixoloid Studios when I was in Budapest working on The Alienist and I have enjoyed a collaboration with this fantastic team ever since. The concept illustrations we produced were helpful roadmaps for the remote work. When the time finally came to go on a multi- day tech scout of all five orean cities with both directing and shooting teams, we were dealt a last- minute blow. As we drove to the Naganeupseong folk village, where construction of the boarding house was set to begin the following day, location A. BOXING CLUB PRE- EARTHQUAKE. ILLUSTRATION BY PIXOLOID STUDIOS. B. BOXING CLUB POST- EARTHQUAKE. ILLUSTRATION BY PIXOLOID STUDIOS. C. BOXING CLUB PRE- EARTHQUAKE. SET PHOTO. D. BOXING CLUB INTERIOR. SET PHOTO. A B C D