Issue link: https://digital.copcomm.com/i/1521244
lounge is a clear choice for our Society wardrobe and fitting room. We are running out of areas. Okay, keep thinking. Could the dressing room areas below the stage be turned into the help desk set? Yes. Could the landing area above the stairs be the archive room? Set decorator Mercedes Hachuel had found so many great pieces for that set, yes, we could make this area work. We thought about reusing one of our other set areas with a redress, but that really didn't help with creating scope or the shooting schedule. Then we realized, we had a big empty theater stage with plenty of room to build an interesting office and hall leading to it. We would go on to design a hexagonal-shaped wood room for Roger, a longtime member of the Society who recruits and trains the story's reluctant hero, Aren. Done! Oh, not done... Charles pointed out we were still short one hallway. A hero hallway that leads to doors that magically open up to a field in front of Monticello… We both remembered seeing another hallway in the location pictures. Where was that? We finally found it tucked along the side of the actual theater, a narrow hall leading to the perfect metal doors that we would later build duplicates of for their arrival in a field outside of Monticello (Disney Ranch). Now, we were done! Did I mention in our search of the building on the top floor, only accessible by a pretty small old elevator, we also found a bonus set? A large brick room on the top floor with huge beautiful dirty windows that became Aren's loft, as well as a great place for the director to rehearse. The Los Angeles Theater is a magical location and has been seen in many movies and music videos and commercials and it always seems to fill the needs and take on the character of any project. I just want to briefly mention the artwork we used at the Society. The script called for "noble portraits of African Americans from various eras dressed for different jobs—janitor, maid, bank teller, etc." This immediately made me nervous. I knew we could never afford to create original pieces. I knew we would need a lot of images based on the longevity and scope of the Society we were trying to portray. I knew they needed to be powerful images. I had no idea how we would achieve this. F. ROGER'S OFFICE. SET PHOTO. G. & H. HALLWAY TO SOCIETY HALL. SKETCHUP MODEL/VRAY RENDER. I. AREN'S LOFT. SET PHOTO. J. "NOBLE PORTRAITS" IN THE SOCIETY LOUNGE. SET PHOTO. J G H I