Issue link: https://digital.copcomm.com/i/1504681
up with a way to flip one bus while the other was shooting and it resulted in an almost theatrical forty- eight hours as if we were changing the scenery during a live performance. The drapery department, led by the incredible Jen Sluk, upholstered over seventy- five panels and they, along with construction, set decoration and VFX, did a two-day dance around the shooting crew to pull it off. After the cinematographer, creator, director and I had basic theories on our approach to the "reality" of our world, as well as how the composition would work and how we would use scale, it was now time to think about what's always the real launching pad for me to start seeing the uniqueness of any project—the palette. We all knew that we wanted to show this story in a new way, and I was well aware that I had to bring that desire for novelty to the color story. One thing I've been more and more comfortable doing as I continue to design period projects is to resist anything remotely cliché—the low hanging fruit, at every turn. The majority of the series takes place in the '70s, but I didn't want to have the series be dominated by oranges, browns and greens—colors that are more prevalent in recollection and communal representation of the period than in reality. Instead, we used many colors that were just as prevalent, but somehow don't get chosen anymore. Teal, fuchsia, pink, primary colors, fluorescents. It was daunting, different and incredibly refreshing. I developed a close relationship with the wonderfully talented costume designer, Mitchell Travers, and would often go to his warehouse for inspiration. I remember the first week of shooting—looking at dailies—there was a scene that, between the two of us paired primary red, teal and bright pink. It just wasn't what is usually used for this period. It was a big leap for me. I asked him how it made him feel. He just said excited. Which was exactly what I needed to hear. And that sums up what this project was like, very exciting and incredibly collaborative. Everyone worked together on such a major scale and all added to what is a unique and original take on George Jones and Tammy Wynette, the American south, the country music industry, the poetry of country music, and most of all, love. The work of everyone in the art, set decoration, construction, paint, drapery and props departments informed and was informed by every other department and we all quickly saw how special the fruit of this collaboration was. Having these guiding themes and approaches from the beginning is sometimes a luxury, but always worth it. We were all so proud when we saw what we helped to make. I can only hope to have more collaborations this rewarding, and more crews this talented in the future. ADG A. TOUR BUSES RESEARCH BOARD. ONE OF THE MANY METICULOUS BREAKDOWNS THE TALENTED ART DIRECTORS DID TO CONQUER "THE BUSSES." B. TOUR BUSES. PLANS AND REFERENCE BY BRIAN BAKER. C. TAMMY'S HOSPITAL ROOM. PRODUCTION STILL. D. TAMMY'S BATHROOM AT FIRST LADY ACRES. PRODUCTION STILL COURTESY OF SHOWTIME. DEMONSTRATES THE USE OF THE TWO-WAY MIRROR TO ACCOMPLISH THE INFINITY EFFECT IN CAMERA. Jonah Markowitz, Production Designer Denise Hudson, Amanda Knehans, Super vising Art Directors Brian Baker, Bill King, Assistant Art Directors Jerr y W. Hall, Kevin Hardison, Set Designers Chad Fogland, Graphic Artist James V. Kent, Set Decorator D