Issue link: https://digital.copcomm.com/i/1474575
1 0 4 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 2 2 It was a Monday, the first week of February , when Netflix sent the director uel Taylor, the line producer ack Murray and me to tlanta to scout locations for this film. It was the usual mad dash to get the film "in the can" within the timeframe of the schedules of our very indemand stars. amie Foxx was starting up Spider-Man, ohn oyega was headed to the next Star Wars film and Tyanna Paris was shooting WandaVision. In a whirlwind, three day scout, much had to be determined for a shoot that would be an extremely complex enterprise, given the demands of the story, the constraints of the budget and, the tight schedule. Finally, throw in the deadly virus that was making headlines and threatened to scupper life as we all knew it! y our return to Los ngeles that Friday, the country, along with our industry had been shuttered closed. Miraculously, Netflix allowed us to keep the momentum going on the weeks' work by allowing us to work remotely. e, in the film industry, have actually become quite adept at working Trippy ou're soaking in it! l a x p l o i t a t i o n m e e t s C . R . T . T H E Y C L O N E D T Y R O N E B Y F R A N C O - G I A C O M O C A R B O N E , P R O D U C T I O N D E S I G N E R A