Issue link: https://digital.copcomm.com/i/1480624
I had to keep that in mind when I landed in San Juan. It doesn't matter that it's an American territory, Puerto Rico has its own spark and vibe. There is a language barrier even if you think you speak Spanish and a learning curve to everything. I couldn't foresee the bumps ahead but learned to let go of the way things are "usually" done and mastered alternatives. Shooting on an island always requires patience and planning, but designing a period series on a partially bilingual island in a pandemic during hurricane season was an endless obstacle course of challenges that delivered more adventure than I initially promised Art Director Joe Pew and set decorator Kaitlynn Wood. From supply chain hiccups and crew shortages to moisture issues, power outages, and wicked mosquitoes, Gordita became a quest that bonded the LA and local crews together deeply. This was the second project I've designed based on someone's real life, and while it's instinctual to skim through childhood photos and recreate original spaces, it's not always the best thing for an audience or the camera. Since this wasn't a biopic, I knew we'd be able to take liberties with the look and tell the story thematically. I met Claudia and executive producer Brigitte Muñoz-Liebowitz over Zoom, where we immediately agreed the humor was in the dialog and action, not the design. Gordita needed to be grounded in a reality without distracting colors or over-the-top style. I referenced the simplicity and "ordinary-ness" of iconic '80s films by John Hughes and Chris Columbus but noted the lack of diversity in most of those suburbs. Miami simmered with Latin culture and an art deco past that had become gritty and textured. I didn't want to shy away from that less glamorous side of the era, even in a comedy. We discussed the Castelli's adjusting to life in a one-bathroom apartment verses their Dominican home with housekeepers and an abundance of space, then pinpointed the few items that would have made the trip to Miami. Most of their furniture would be thrifty purchases done locally while some art and a record player could be cherished pieces they've had for years. This created a blend of eras which I loved. Rarely do people live in a time capsule where everything was made within a short span of time, so mixing styles built realistic layers. It's tricky coming onto a series where the pilot was done by another crew, especially this one shot entirely at Los Angeles locations. Fortunately, the opening storyline focused on the family landing in a motel, so their home interior was never established. I wanted to stay true to Cabot McMullen's look, but we were in a completely different world. The debate over how much of the pilot to match became focused on just making sure the audience wasn't jarred when they binge-watch the show. Puerto Rico doesn't have courtyard apartment complexes or outdoor school cafeterias and the mountains across the island don't resemble Miami's flat terrain. However, San Juan does have an abundance of lush tropical greens and a mixture of mid-century and 1980s architecture that provided a good backdrop. After driving around with location manager Vivian Rebella, it was clear the school would be the biggest change from the pilot. I wanted to incorporate a few elements from the LA pilot's A. FRONT ENTRANCE OF OUR SCHOOL LOCATION —COLEGIO SAN IGNACIO DE LOYOLA, SAN JUAN, PUERTO RICO, ARCHITECT HENRY KLUMB. SET PHOTO. B. SCHOOL LOCATION. SET PHOTO. C. SET CONCEPTS FOR SCHOOL HALLWAY B AND CLASSROOM ONE. SKETCHUP MODEL BY AMY LEE WHEELER. D. SCHOOL CAFETERIA SET CONCEPT. MODELED IN SKETCHUP BY AMY LEE WHEELER IN A HOTEL ROOM DURING A TROPICAL STORM. E. SCHOOL CAFETERIA. GREENS PLAN. VECTORWORKS DRAWING BY AMY LEE WHEELER. F. CLASSROOM ONE STAGE SET. SET PHOTO. A B