Issue link: https://digital.copcomm.com/i/1504681
at her feet but she's the smallest she has ever been. Research of the Landmark showed the real size of the suites. I quadrupled it and added a level. Similarly, there were instances where the sets were tiny by most standards, and intentionally so. Specifically—the tour buses. Between interiors and exteriors, the Art Department had eleven buses to design. That was its own challenge. We quickly realized that we couldn't shoot on actual bus frames—Michael is 6'-3." But more than that, there were major scenes happening here— turning points, scenes with conflict, many with multiple characters. I asked Abe why so many of these long, important scenes were playing out in such tiny spaces—just making sure that this was what he wanted. He explained that in his research and conversations with Georgette, he learned that when one is living on the road, many of these important moments do happen on the buses. So, then the challenge became making them feel small but still be shootable. The crew welded frames with removable panels to help light and shoot and made the busses slightly oversized to accommodate the actors and the crew. Then the shooting schedule came out. The production would have to shoot four of the 1960s buses back-to-back. But we only had space to build two. Denise Hudson, the Supervising Art Director, aptly said: "Eleven buses? On this schedule? Impossible. Let's do it." She came C A B