Issue link: https://digital.copcomm.com/i/1504681
When the production scouted what became Arthur's barn, I knew it would work well for what we needed. It had the warmth of well-worn wood, the antithesis of Laura's evil lair of modern, hard- edged minimalism. It also had a loft that could be utilized for great camera angles and potential hiding spots for Charlie. The only modifications the barn required was to reinforce the loft with structural columns to support the additional weight of the crew and equipment. Natasha also asked for a porch to be added onto the front of the barn for the first encounter between Charlie and Arthur. LAM was loosely based on ILM, Industrial Light & Magic. To underscore their established stature would require an interesting location to reflect their creative history. After several months, the location department miraculously found an abandoned I.M. Pei building an hour south of the production office and stage. The photos they presented were impressive, but not as astonishing as in person. The uniqueness of the architecture was ideal for representing who LAM was as a company. LAM's logo history was perfectly inspired by Graphic Artist Derrick Kardos, who presented four distinct period-correct fonts and styles to be prominently branded and displayed throughout the building and exhibition. By the time the series wrapped up our six- month saga shooting Poker Face, we had built and/or modified two hundred sixteen sets. The fundamental difference from my previous projects was the formidable number of incredibly specific story points affecting the design of each episode. Charlie inhabited so many environments with numerous personalities and layers, and each beat had to support the writing and compel the viewers. The design team was always aware of how everything we created would work for a dizzying array of camera angles, all crucial to revealing the story exactly the way Rian wanted it told. The tone of every project starts at the top. With Rian Johnson and Ram Bergman as our leaders, everyone on the show felt our work was seen and appreciated. We shared the goal of striving for artistry and quality and felt we were all in this together. If I could do every job with Rian, I would. He's decisive and has a vision, but he's also open and generous, qualities crucial for genuine collaboration. The entire crew worked incredibly hard, had great attitudes and everyone was united by the same purpose to make the best show possible. ADG E. ARTHUR'S BARN. ARTHUR (NICK NOLTE) WORKING AT HIS STEENBECK CHATS WITH CHARLIE (NATASHA LYONNE). WIDE SHOT OF ARTHUR'S WORKSHOP CREATED IN AN EMPTY BARN IN CORNWALL, NY. PRODUCTION STILL. Judy Rhee, Production Designer Martha Sparrow, Super vising Art Director Miles Michael (NY). Scott Cobb (NM), Linette Shorr (NV), Art Directors Chris Rhoton, John Pollard, Nick Nocera, Antje Ellerman, Colt Frank, Shane Cinal, Josh Smith, Andrew Boyce, Gar y Kroytor, Mariah Blanco, Ariela Rivera, Set Designers Greg Pinsoneault, Model Maker Alistair Milne, Jason Christiansen, Illustrators Derrick Kardos, Jaime Gross, Kerri Mahoney, Alan Chao, Miguel Rosero, Graphic Artists Cathy Marshall, Lizzie Eggert, Dea Jensen, Set Decorators E