Issue link: https://digital.copcomm.com/i/1474575
an opportunity to have some fun; we partnered with a NY lighting designer who does authentic 'sstyle fluidoil light shows, and the camera and electric departments, to make an installation of projections on a tensile fabric environment. A number of sets from the original movie were replicated, not for the scenes themselves, but for the drama (and comedy) around them and the production, a few being Louis' restaurant where Pacino as Michael kills Sollozzo and McCluskey, wowing everyone with his steely intensity, thereby saving his job) was built out in a shopfront at the Hotel Barclay; and the 5th Avenue Best & Co. (where Michael and Kay shop before Christmas) was done on the NY streets Universal backlot. While the production always planned (and looked forward to) doing the Episode nine Sicily work in Sicily, as the movie crew had done, two factors made that unworkable: the fact that the original locations have changed so significantly in the intervening fifty years and the complications that COID presented at that moment in moving even a limited crew and cast. Those scenes were broken down to driving work I selected roads and city streets from scouts' photos and video in Sicily) done by a second unit in Italy and first unit work with the principals, mostly shot at Sable Ranch— there we built the Castello where The Godfather team shot the car explosion that killed Michael's new bride, and Bar Vitelli, where Michael met her father. The discovery online of a scan of original drawings and careful frame by frame analysis of footage yielded the information needed to replicate Don Corleone's den oce accurately. Its proportions and intimate scale are surprisingly pleasing, and standing in it, one couldn't help but be awed anew by Tavoularis and team's beautiful work. The team of talented, experienced people that Jann brought together for our department shared an uncommon commitment to the project. Art Directors arry Otto, Candice Muriedas and ason Perrine, and Set Designers udy Cosgrove and Phil Toolin, along with Graphic Artists Tim Swope and Michael Richie White, all felt a shared responsibility in getting it right. Construction coordinator Bryan Turk and paint supervisor Mark Woodworth similarly led teams who were uncommonly engaged with and committed to the material. s always, rt Department coordinator Carole Kiefer, with experienced balance, was indispensable in coordinating and tracking all the moving parts. Laurence Bennett, Production Designer Jann Engel, Super vising Art Director Harr y Otto, Candice Muriedas, Jason Perrine, Art Directors Shannon Walsh, Assistant Art Director Judy Cosgrove, Sr. Lead Set Designer Phil Toolin, Sr. Set Designer Robert Broadfoot, Set Designer Raj Rihal, Illustrator Timothy Swope, Michael Richey White, Graphic Artists Lisa Alkofer, Set Decorator A B