Issue link: https://digital.copcomm.com/i/1514626
appropriately "unusable" due to the leaks, falling plaster and general disrepair. The War Resisters League was a dusty, nicotine-infused beige and brown, full of vagabond protest banners, flyers and files, while the film opens in a void of various greys—an empty office rented to plan protests of the 1960 Democratic Convention in Los Angeles. There was no record to be found of even the address for the New York NAACP offices of the time, let alone photographic research. The production found a great sprawling location with wide arched windows and a view to a believable NYC street, but the place was in such disrepair that the challenge to restore it for filming was steep. Locations would have been able to overcome the asbestos abatement, but we were still making the film during severe COVID restrictions and the added layer of acceptable ventilation was finally deemed reasonably impossible. The Art Department rallied in the third quarter, designed and built the NAACP, taking the details we liked from the location, including the distinctive windows. Color went to an institutional green I thought proper for mid- century Midtown, with black and rust linoleum floor tiles. Graphic Designer Karen TenEyck researched and provided the perfect promotional materials, and it wasn't until they were framed and hanging on the set walls that I noticed the actual address of the NAACP at the bottom of the posters. 20 West 40th Street. We had actually gotten the location surprisingly right. A B C D E