Issue link: https://digital.copcomm.com/i/1500164
A B B O T T E L E M E N T A R Y | P E R S P E C T I V E 9 5 (07/28/21) 9003 - MELISSA'S CLASSROOM 9004 - GREGORY'S CLASSROOM 9002 - JANINE'S CLASSROOM 9001 - BARBARA'S CLASSROOM 9007 - AVA'S OFFICE / ADMINISTRATION 9006 - TEACHER'S LOUNGE 9013 - HANDBALL COURT (BACKING) 9000 - SCHOOL HALLWAYS 9008 - LIBRARY NEW STAIRCASE, WALLS, & ESCAPE 9005 - JACOB'S CLASSROOM 9009 - NURSE'S OFFICE (07/28/21) (07/28/21) (07/28/21) EXTERIOR SCHOOL ENTRANCE WALL (07/28/21) (07/28/21) PRELIMINARY FOR ESTIMATION ONLY 07/28/21 - 2:45PM 9005 - JACOB'S CLASSROOM 9004 - GREGORY'S CLASSROOM 9002 - JANINE'S CLASSROOM 9001 - BARBARA'S CLASSROOM 9007 - AVA'S OFFICE / ADMINISTRATION 9006 - TEACHER'S LOUNGE 9008 - LIBRARY 9009 - NURSE'S OFFICE 9013 - HANDBALL COURT (BACKING) 9000 - SCHOOL HALLWAYS NEW STAIRCASE, RAISED WALLS, & ESCAPE STAIRS (07/28/21) (07/28/21) (07/28/21) 9003 - MELISSA'S CLASSROOM (07/28/21) (07/28/21) EXTERIOR SCHOOL ENTRANCE WALL (07/28/21) PERSPECTIVE 1 PERSPECTIVE 2 DATE: FILE: TIME: 7/28/2021 2:26:19 AE_9000_INT_ABBOTT_ELEMENTARY_210728.vwx PRODUCTION DESIGNER: ART DIRECTOR: MICHAEL WHETSTONE SUZAN WEXLER SET TITLE: INT. ABBOTT ELEMENTARY SET DESIGNER: TOM WAGMAN SHEET TITLE: PERSPECTIVES LOCATION: STAGE 16 REV. DATE: PRELIM. DATE: RELEASED DATE: 07/28/21 3 1 4 2 and we began discussions with our construction team, led by Duke Tomasick. Suzan and Duke were both new to me, but that's one of the fun things about this business—working with new minds and energy on every project. I quickly realized that Suzan and I are a perfect complement to each other. She has been an Art Director for twenty years and always wants to figure out the best way to move things forward. I also had Art Directors Patrick Parkhurst and Megan Fenton on season one, as well as Assistant Art Director Garrett Brown. We spent most of these early days together immersing ourselves into the smallest details of the school, gym and exteriors. Warner Bros. Television gave the show Stage 16, which is the biggest and tallest stage they have and is one of the largest sound stages in the world. It worked perfectly for us, as we wanted to have the longest possible hallways to tell the story of this massive public school with four hundred fifty kids. Our main hallway ran from one end of Stage 16 to the other, roughly 140-feet-long. I remember getting early schematics from Set Designer Tom Wagman and thinking we were over budget already! Tom has been with us from day one and really brings a designer's eye to everything he does. Within these massive hallways, the Art Department needed to find the humanity and core of the show—its teachers. The premise of the show is that the school has invited a documentary crew onto the campus to tell the story of these teachers, who fight to provide a solid education against all odds. Against budget cuts. Leaky pipes. Faulty electrical service. The school the set is based on was built in 1896. The school the pilot was shot in was built in 1920. Anyone with an older house knows what the upkeep of this is like. We try to show this wear and tear wherever we can— in the aging and the haphazard electrical system that runs the school. Each teacher on the surface has a classroom that is the same exact size, but each one has their own personality. Barbara is the teacher with the most experience, who sometimes feels lost in a world of new technology. She still has script letters on her wall to teach kids how to write. Janine is the young gun—lots of hope for D C B