Issue link: https://digital.copcomm.com/i/1517535
Department, with Art Directors Glen Hall, Jackie Kay and Lorie Wallick were indispensable, as was the construction crew led by Dave Cannon. The production then shifted to finding a working exterior location. Elizabeth needed to drive through the entrance to the stage door, then on to our stage. Jesse Lorber again found another amazing streamline design building, a beautiful college in Glendale. Unfortunately, the front of the building was right on the street, which meant we had to use the back of the property as the studio and make it look as beautiful as the front. The location was originally a vocational school for the aircraft industry in the 1930s. The aeronautic details were repurposed. The tower in front was reimagined as a radio tower and partially rebuilt behind the building. VFX completed it and added 1950s Hollywood in the background. We added an entrance with a marque (borrowed heavily from the Desilu theater). Some of the windows had dark reflective, non-period tinting which we covered with awnings. We partially repainted and added graphics. Eventually, it turned out to be an ideal setting. When I saw that opening shot of episode one, it was very satisfying. It was almost exactly as I imagined it. My grandfather died many years ago, but I hope I captured the vitality of a new world in Los Angeles, as he may have seen it. ADG Cat Smith, Production Designer Jacqueline Kay, Glen Hall, Super vising Art Directors Lorie Wallick, Maria Baker, Art Directors Ryan Baptiste, Aurora Ariana Garcia, Assistant Art Directors Daniel Bradford, Sloane U'Ren, Jean-Paul Leonard, Lauren Polizzi, Set Designers Chelsea Alden, Michelle Peters, Graphic Artists Lori Mazuer, Set Decorator D E F