Issue link: https://digital.copcomm.com/i/1521244
G R I S E L D A | P E R S P E C T I V E 8 5 I wanted to use the 1950s and 1960s architecture, midcentury modern, combined with many over- the-top 1970s and 1980s decors. Pinks were replaced with banana leaves and lots of greenery wherever possible. Since Griselda Blanco moved from Colombia to Miami, we also needed to do flashbacks and recreate Colombia in the 1960s and 1970s. At this point, we decided to shoot as much as possible in and around Los Angeles, as well as locations and interiors we would build on stage. The director grew up in Colombia, and I grew up in Europe. Therefore, we both had an "unobstructed" view of what greater Los Angeles and various neighborhoods had to offer for the show. During prep, I learned much about LA history from location manager Kristopher Bunting and set decorator Kim Leonard. A couple of choices were almost inevitable, such as shooting in the Biltmore Hotel, the old Ontario Airport or using Long Beach for its Miami vibes. Still, even places like San Pedro offered so many surprises that it became possible to recreate Miami and Colombia in California. Because of my background in the field, I am convinced that architecture is vitally important for period shows and movies. If the architecture isn't right, the show doesn't feel right; the same applies to cars. I wanted to hit the era's vibe and feeling, though I didn't want to scream 1970. The approach was almost the opposite; most backgrounds, objects, cars, furniture and graphics should be ten or more years older, whereas technical objects such as telephones, TVs and some vehicles should tell the viewer which year the story is set. Together with the location manager, I focused on the A. DORA HUTCHINSON HOUSE DESIGNED BY WILLIAM PEREIRA. LOCATION USED FOR THE OCHOA RESIDENCE IN THE CARRIBEAN. B. KILLINGSWORTH RESIDENCE IN LONG BEACH. LOCATION USED FOR MARTHA OCHOA'S PAD. B