Issue link: https://digital.copcomm.com/i/1514626
access was limited since we shot on all sides of the house and there were no "dead" angles. Once we had established the exterior, I was able to design the stage set with Luis, which we built over two levels at Blackhall Studios. The house was meant to be over sixty years old and heavily neglected by the time Celie arrives, then it gradually changes over the years, according to our story. This aging was tasked to scenic charge Jeff Heinhuis and his crew. The color palette was on the cooler side, with subtle patterns on some wallpapered rooms. Larry chose to keep the furnishings spare and was careful to keep the changes subtle as the story moved through the years. There was a lot of discussion about how to show the passage of time in the house, but the reality was that folks in the rural south probably wouldn't change a lot. We, of course, had a slow change with things such as electric lights gradually replacing oil lamps. E. MISTER'S HOUSE. REAR HALLWAY. STAGE BUILD AT BLACKHALL STUDIOS, STAGE 7. SET PHOTO. F. MISTER'S HOUSE. LIVING ROOM. STAGE BUILD. SET PHOTO. G. MISTER'S HOUSE. HALLWAY. ILLUSTRATION USING BLENDER AND PHOTOSHOP BY DARA ZHAO. C E F G D