Issue link: https://digital.copcomm.com/i/1485934
International Operations Board, Art Director Greg Hooper and I began planning the layout and jigsaw puzzling in the various scenes in the script, so they not just worked in this location but flowed through it. JJ imagined a oner that would have the camera traveling down a set of stairs, into a backroom kitchen leading the viewer through a two-sided elevator into the main hall, traveling with Bud and Big John, experiencing the union hall in all its full operational glory, ultimately ending at Ralph Seeger's office, the gate keeper of Local 8711. On this journey, I worked with Lynne Mitchell to develop a language of set dressing that not just fit the smoking room, boys' club atmosphere but spoke to the years of history steeped into this place. From Masonic Lodge plaques of accomplishment to Local 8711 banners dating back to the early 1900s, Wendy meticulously detailed a visual history throughout the hall, including recreations of vintage Los Angeles maps showing the regional divisions of vampire hunter union affiliation. To round out the space, I worked with portrait Illustrator Eric Fehlberg to create several original paintings of vampire hunters in history. We had great fun choosing these figures and JJ felt in the company of Abraham Lincoln and Frederick Douglass (obviously vampire hunters), we should give a nod to Netflix Chief Scott Stuber and producer Chad Stahelski and paint them into history. But as we fell one painting short to be placed in Ralph Seeger's office, JJ in good humor felt strongly that I should also be painted into history. So wink and a nod…for those who know me, painted in the style of John Singer Sargent, you might notice a familiar-looking vampire hunter looming over Ralph Seeger's desk. D E F G H