Issue link: https://digital.copcomm.com/i/1504681
P O K E R F A C E | P E R S P E C T I V E 3 3 to bring on alternating decorators, leapfrogging each episode. I'm a believer that you're only as good as your crew and there's no way we could have accomplished what we did in the time we had without an amazing team. Martha Sparrow, the Supervising Art Director and the entire Art Department worked tirelessly to keep the fast- moving train on its tracks. The set decorating team, Cathy Marshall, Lizzie Eggert and Dea Jensen, all worked miracles to deliver character- driven, multilayered sets in abbreviated time. The construction and scenic crews consistently rose to the occasion at breakneck speed. Finding suitable locations presented its own enormous challenge. The series unfolds across eight different states, from the Southwest to the Rockies to the Midwest, concluding in Atlantic City, except for a few days in Nevada and New Mexico, time and budget confined filming to the Hudson Valley in Upstate New York. And because there would be no standing sets or recurring locations, several of the more intricately plotted scripts had to be prepped simultaneously. To accommodate the logistics of shooting a new story location every ten days, company moves for the shooting crew had to be limited. This meant either finding existing locations to modify or building multiple sets in a single space or close to each other. Shooting was based at Umbra Stages in Newburgh, NY, where the productions had two, sometimes three stages, the Art Department offices, and the construction and scenic shops. We also found a closed event space in nearby New Windsor, NY, to use as our ancillary stage. For the sets to be filmed on location, our directive was to stay within a 60-minute drive, sometimes ninety minutes, in any direction from our home base. We also succeeded in this enormous endeavor thanks to Chris Menges and his location department, who consistently unearthed the impossible throughout the region, working under similar pressures as the Art Department. Fortunately, the crew was able to prep and shoot the first two episodes together, efficiently tightening the schedule and offering sufficient time, which would no longer exist after episodes one and nine. After that, it was an all-out sprint to build A. EXTERIOR CHARLIE'S TRAILER. SUNRISE SHOT OF CHARLIE SITTING NEXT TO HER TRAILER. TRAILER WAS TRANSPORTED FROM NEWBURGH, NY, TO LAUGHLIN, NEVADA, AT THE END OF THE SCHEDULE TO FILM EXTERIORS. PRODUCTION STILL B. INTERIOR CHARLIE'S TRAILER—BTS. RIAN JOHNSON DIRECTING NATASHA LYONNE IN EPISODE 101 @ UMBRA STAGES IN NEWBURGH, NY. B