Issue link: https://digital.copcomm.com/i/1480624
M I N X | P E R S P E C T I V E 2 7 To Begin With ---: I was first contacted by Ellen Rapoport in early March of 2020 about a new pilot script—would I be interested in reading the script and possibly designing the project? I was reading several projects at the time, but I was intrigued by her description of a 1970s story about a soft-porn publisher in the San Fernando Valley. And, even better, it would be shot in Los Angeles, and one doesn't ignore the chance to work at home these days! I read the script once, and then again, and realized I was hooked. I was drawn to the broad complement of layered and conflicted characters, a lush 1970s Los Angeles as the backdrop, and a range of potent social issues, all filtered through a wry comedic voice. In particular, the growing "Women's Lib" movement of that time, squarely featured in the DNA of the main character Joyce, seemed a particularly keen issue to revisit in 2022, in light of the current state of gender politics. A date was set for the following week for a Zoom conference to meet and discuss the project, Over that weekend, I spent time preparing for the meeting and rereading the script, all the while distracted by the ongoing discussion of a novel coronavirus—something serious they were calling COVID. And indeed, before the weekend was out, the country had closed down, businesses, restaurants, and film and TV production were suspended across the country. People fled the cities and we were "locked down." That Monday, I received an email from Ellen: Production for her pilot was likewise suspended until further notice, but did I want to Zoom meet anyway, for the heck of it? Yes, I did. The Pilot ---: That first meeting went well, and I felt an immediate kinship with Ellen and her team: She was personable and funny, and seemed to listen intently to what I had to say regarding the visual potential of Minx. I was offered the Production Designer job, with the proviso that "We have no idea when we might film. Let's stay in touch!" And the summer went by, with the occasional email to say, "Standing by." By September, production was creeping back to life, and Minx was finally on a schedule to prep for eight weeks and shoot for eight days in late November. The COVID protocols dominated every discussion as the pilot crew scouted for our list of locations. At least we were able to lock in a sound choice for the key location of the offices of the Bottom Dollar Productions—a low-rent publishing mill for an empire of "Girlie" magazines, based in the San Fernando Valley. This would be the largest set of the show, and account for four days of the filming schedule. The remaining sets would be on location as well and, slowly, we put together a roster of appropriate locations. Continued COVID issues pushed prep into a ten- week schedule, with filming now happening in December; with a little luck, we would be able to finish before the holidays. But not so fast. The art and decorating departments were handed a last- A. INTERIOR BOTTOM DOLLAR PRODUCTIONS OFFICE BULLPEN. SERIES STAGE SET. MAIN AREA OF THE SET SHOWING THE UPPER CLERESTORY WINDOWS. SET PHOTO.