Issue link: https://digital.copcomm.com/i/1485934
this visualization process. It was really hard to imagine when you are on a tight deadline with such a small team of multitaskers. Astral traveling gave us immense clarity very quickly." Locations Location manager Chris Baugh was a giant part of the design process. When he joined the production, we knew that he would lead us to unimagined spaces. The second order of business after finding the exterior neighborhood was finding Frank's house, as Mary needed to get the miniature in production. Frank's house would also set the look for the finishes of Alice and Jack's house. I had a gut feeling that it would be Neutra, but never in a million years did I imagine that we'd actually get the Kaufmann house. An entire article could be devoted to securing and shooting in the Kaufmann house. Before it was locked in, the production scouted several contenders for Frank's house. One out-of-the-box idea was the Volcano house in Newberry Springs. At the time, headquarters was scripted as a tunnel through a mountainside. Chris brought us many tunnels, but because of the limited shooting schedule, headquarters needed to be paired with a dry lakebed. There was no way for the production to merge the two until we learned that the Volcano House sat on one. There was an "aha" in a meeting as the team was staring at location photos on the wall of our office. We decided to scout it as a lark. It fit so well into our atomic vision of Victory, as if it was just waiting to be discovered and written into the story. Since most of the locations were historic, the work of modification fell to incredible efforts by Supervising Art Director Erika Toth Ham, Mary Florence Brown and location construction foreman Ephriam Harris. For the Volcano house, the staircase and decking were built at the WB metal shop and Lou Boggs, the stage construction foreman, brought his expertise to make it all work on site. The Volcano house is three hours away and perched on an actual volcano. A tiny dirt road snakes up to the top. It was the construction team's valiant effort which brought all of the special equipment up and pulled off the work safely. Alice and Jack's House The goal was to create a perfect house, but one that also felt dangerous and exposed. Olivia and I imagined a glass box, but because of stage height limitations, a U-shaped house was designed with the glass in the interior part of the "U." Using SketchUp, brilliant Set Designer Betty Krul could detect the exact layout needed to maximize the 28-foot stage height. Erika Toth Ham oversaw the build and Soft Drop backings from Rosco. Erika Toth Ham: "The vision was extremely daring knowing just how exposed the drop would be. No facades, limited masking greens, no tricks, just an image on cotton outside walls of glass. Phil Greenstreet and I spent an entire day out in the desert. We shot three different angles every three hours from dawn till dark. Together we picked a few spots that we thought could stitch together a majestic, cascading mountainview. We spent the day moving our ladder D. VIEW OF ALICE AND JACK'S HOUSE BY BETTY KRUL. SKETCHUP MODEL. E. ALICE AND JACK'S HOUSE. PLAN BY BETTY KRUL . D E