Issue link: https://digital.copcomm.com/i/1474575
thankfully been delayed one week. e still didn't know what the second half of the show would be, but Damon needed to start estimating. The good news came the following morning. The creative team had fi nally chosen an episode from the third season of The e. The bad news was that it was not one of the sets for which we had original drawings. So, while the details were being fi nalized for ff re res, I began deconstructing and reconstructing The e sets, repeating the whole process all over again. hat became almost immediately clear was that the show would need a bigger stage. hile they had selected an episode which fortunately had no swing sets, and all action was contained in the permanent sets, it turned out that those permanent sets were quite large, comprising three distinct playing spaces the Eastland School Cafeteria, the school kitchen and the student lounge. In total, these three sets needed almost eighty feet of stage space. We had only forty feet remaining after ff re re was placed in the plan. Changing stages was unfortunately not an option, as the Sony lot was fully booked. e would have to start editing, squeezing, reducing and cutting. Construction had now o cially started, and the rt Department still hadn't drawn this set. One great timeandlaborsaving factor on this project was that ultimately everyone involved in the show all the way to the top already knew what the fi nal result was supposed to look like, so we E. ARNOLD AND WILLIS' BEDROOM SET. ORIGINAL PRODUCTION PHOTO. F. DIFF'RENT STROKES VECTORWORKS SET PLAN BY COULTER MCAUSLAN. G. ARNOLD AND WILLIS' BEDROOM SET. ORIGINAL PRODUCTION PHOTO. H. THE FACTS OF LIFE EASTLAND SCHOOL CAFETERIA & KITCHEN. SKETCHUP MODEL BY S. OLSON. E G F H