Issue link: https://digital.copcomm.com/i/1521244
CREATE. WORK or LIVE. PLAY. WORK…always ending in the bottom-line real message—WORK. The production was looking for a location that would accommodate these ideas and again we were so lucky. Our location scout pointed us to an older building that was a bank many years ago. It provided two very different large, open workspaces, huge windows and interesting architectural details. We all loved the location, other than the 20-foot-tall, padded, wildly patterned crazy panels that were firmly attached to the walls. But we committed to the location knowing these walls would somehow have to be dealt with...within our limited budget. We soon learned it would be cost-prohibitive to remove and restore, so Max Gonzales, the brilliant construction coordinator, along with Charles, came up with a plan of press fitting theater flats skinned with wood boards between the concrete columns. The scenics gave them a whitewashed shiplap look for our nautical theme. Losing those crazy colored panels really transformed the place and gave a great nautical and textured canvas to the set decoration team. Now that the film's two main locations (and Aren's loft) were located in Downtown LA, the creative team came to the decision to place the film in Downtown. Originally, some scenes were scripted at the Venice canals but Downtown LA had locations that mirrored some of those scripted locations perfectly. Having our offices Downtown, and shooting almost exclusively in Downtown was such a treat and brought so much to the movie. The one location we could not move to Downtown was our Virginia barbershop, which we shot at Stylesville in Pacoima. Not only did it perfectly suit our needs as it is beautifully authentic and a long enough room to build a fake back wall with a secret entrance into the Society, it is also the oldest Black-owned barbershop in the San Fernando Valley. You could feel the shop's long rich history the second you walked in and that just suited this film perfectly. Just another piece of magic in the magically joyful process of making this film. ADG F. BARBERSHOP SHOESHINE STAND RIGGED WITH PRACTICAL EFFECT FOR ENTRY INTO MAGICAL SOCIETY. SKETCHUP MODEL. G. STYLESVILLE BARBERSHOP LOCATION WITH SHOESHINE WALL ENTRANCE TO MAGICAL SOCIETY. SET PHOTO. Laura Fox, Production Designer Charles Varga, Art Director Meagen Brooks, Graphic Artist Mercedes Hachuel, Set Decorator F D G E