Issue link: https://digital.copcomm.com/i/1507937
most crew-friendly result, and I never felt quite good about not solving that, even with locations' best efforts.) The small town was the trickiest—we had to establish it, show some of the backstory as to what had happened with Brynn (a memorial mural, the police station), and then, for the finale, be able to give it the same "Brynnification" we saw in her house. The village of Slidell proved amenable to us hanging out there for a few weeks, but we ended up with only a few days in our shooting schedule to change the whole street from the "before" to the "after," in a way that felt visually realistic for Brynn, with some help, to do. This was a massive bit of planning for set decoration, construction and Kristin. With all A. BRYNN'S HOUSE SECRET ROOM. SET PHOTO. B. BRYNN'S BEDROOM. SET PHOTO. C. INT. BRYNN'S BEDROOM, GRAPHIC LAYOUT BY JENNA HUERTA. OVER DRAWINGS AND UPDATED MODELS BY JESSICA STUMPF. D. MILL RIVER MAIN STREET. START OF FILM. ILLUSTRATION BY ROBERTO CASTRO. E. BRYNN IN MILL RIVER. PRODUCTION STILL. F. MILL RIVER MAIN STREET. END OF FILM.ILLUSTRATION BY ROBERTO CASTRO. A B C D