Issue link: https://digital.copcomm.com/i/1470106
off some miracles and dressed it with available resources in North America. "Ah, the belly has a better memory than the heart!" –Min Jin Lee, Pachinko Designed by Lisa van Velden, Mozasu's house in 199 saka was a joy to develop and see come to life. Hand-carved wood screens that Hamish had found in apan were incorporated into the transoms of entryways and this small detail added a level of realism that was delightful. There is a scene in the show that cross cuts between angjin cooking in our 1900s eongdo kitchen, and Sunja cooking in 199 in the saka kitchen of this set, and the synthesis of design between construction, set decoration and props could not be better captured. In a scene that is all about food conjuring place, the sets are undeniably real, and the preparation of food becomes an act of ritualistic connection. "Because he knew well enough to draw a thick line between what was public and what was private." –Min Jin Lee, Pachinko The seuence that starts in episode four, where Sunja embarks on her journey to apan, was a logistical matrix of dozens of locations and set builds in both countries. We wanted to showcase the dramatic diff erence between life in small- town eongdo, orea, to Sunja's fi nal destination in saka, apan. The episode starts in the boarding house set, built in Andong, orea. From there, the story goes to the Busan Ferry Terminal which was a built on location at the Britannia Shipyards in B, where visual eff ects added the replicated exterior of the Tukumajaru ferry. After boarding the ferry, we cut to the staircase and interior hull set that was built on stage in B, then to a location in Vancouver where we built out the ship's ballroom. From the ship, we cut to a train set in Hapcheon, orea, then Sunja gets off the train and enters the station, which was a dress of the Vancouver bus terminal, she exits the building onto a massive street dress at the Hapcheon backlot where she boards a streetcar that takes her past a subway construction site that we excavated and built, she exits the streetcar in Hapcheon, turns the corner and we fi nd her walking down a canal path at a modifi ed Suncheon backlot in orea. Then she turns another corner and we E F G