Issue link: https://digital.copcomm.com/i/1514626
had worked together before, so we proceeded as always: pre-dress everything and then clear the set for Markus and I to sit in each set. Often, we will just sit and talk for an hour, live in the room, laugh. We then get to it, moving things around together, take stuff away, holding things up for each other. It's a very hands-on approach, where we get to essentially feel in each room. That's where we lead with feeling and instinct—if it doesn't feel true to the character and story, then we will stay there all night until it does. The schedule often felt like a house of cards, as we were so stretched between multiple locations across the state, it felt like it could all fall apart at any moment. In the end, we were able to laugh our way through and juggle all the needs, and pour our hearts into each set, hoping that the audience would feel what we felt, all while hoping our work would stay somewhat invisible and non-obvious. It's very important to me that we never feel like we are within a set and never distracting from the story. Art Department The creative world of the Art Department is such a happy place for me. Working with Art Directors, Set Designers, the hardworking coordinators and clearance coordinators. The film was very graphics- heavy. Nate had his hands full and was able to pull off his magic so well. He's really one of those guys who just gets the period and we had very few notes for him. His work is so strong and I'm so grateful that he helped me pull off the look of the film. The builds on this one were minimal. We didn't have any complete stage sets. Like I said before, Alexander wants to shoot in real places and also wanted to stay true to the 1970s way of mostly location-based films. So, each of these places had some non-period element to hide or expand upon. For example, so many locations had updated vinyl windows that would need to be hidden with wood. Small things like that can be a dead giveaway so we were always on our toes making sure things were accurate to the time. Jeremy Woolsey and Peter Wilcox were so great at helping me stay on top of these details. Julia, and her incredible crew of scenics, were critical to getting the right colors and tones of the film and were key in making the multiple school locations feel like one school. What E. & F. PAUL'S HOME OFFICE. SHOT ON LOCATION. KITCHEN AREA BUILD INTO EXISTING SUNROOM. SET PHOTO. G. KITCHEN. SET PHOTO. H. PSYCHIATRIC HOSPITAL. SET PHOTO. F E G H