Issue link: https://digital.copcomm.com/i/1490572
The other side led down to the Santa's quarters, a holdover from the original movie. A bedroom was added, however, with an intricately carved fireplace to be the back of the iconic Santa-face fireplace. So talented and intuitive was our sculptor, Qui Morales Velasquez, that one sketch and conversation with the designer produced the most incredible collection of curves and faces, a history of the mythos encased in a sweeping 3-dimensional mural. One side anteroom connected the grand hallway to the workshop. It held itself as a constant reminder of time, the schedule Santa and the elves must keep in order to make the world a happier place in just one night. Stained-glass doors designed by Graphic Artist Lindse Fletcher set the hallway apart from the workshop. In fact, her stained-glass panels were on almost every set of the North Pole, allowing a wash of colored light into each set. A custom- made yearlong clock adorned one side of the room, while clocks of the world were stacked together on the other side. A continuity nightmare, but a wonder to walk through. The control room was another interesting challenge. This set was the North Pole version of an air traffic control hub, with several workstations for the elves to monitor the sleigh and eight tiny reindeer. Mel wanted to bring in newer technology for the tracking of Santa on his busiest night of the year, but not pack the room with digital screens and iPads. The technology needed to have a nod toward the future without being so forward as to be huge chunks of slate gray screen color everywhere. E. SANTA'S BEDROOM WITH HAND-CARVED FIREPLACE. SET PHOTO. F. SKETCH MADE BY MELANIE PAIZIS JONES OF SANTA'S BEDROOM FIREPLACE. G. BETTY'S OFFICE. THE BLUE BEHIND THE WINDOW WOULD BE TRANSFORMED INTO AN OVERLOOK OF SANTA'S WORKSHOP. SET PHOTO. H. RENDER STUDY OF THE ANTEROOM FROM THE MAIN HALLWAY TO WORKSHOP, WITH YEARLONG CLOCK ON THE WALL. DONE IN SKETCHUP VRAY AND PHOTOSHOP BY HUNTER BROWN. E F H G