Issue link: https://digital.copcomm.com/i/1521244
Janusz indicated that his preferred approach was to play with perspective rather than pulling out wild walls, making rooms appear smaller while allowing ample space for camera and company maneuverability. I agreed with this method, especially considering the intricate nature of some of these apartments, where wild walls would've required considerable time and repair work. When it was time to harmonize the stage set with the location, the Art Department took into account window placements, moldings and finishes, bringing a number of intricacies from the real location into the set on stage. The brownstone itself provided a wealth of valuable details. The concept for the man upstairs apartment set, inhabited by Ryan Reynolds' character, mirrored the grandmother's apartment set but with a fantastical twist, as it was a manifestation of the little girl's imagination. Picture a whimsical, curved high-ceilinged version of the grandmother's space below, expanded beyond conventional boundaries to accommodate a gathering place for imaginary friends, both large and small. This fantasy realm, existing solely in the little girl's mind, was realized by Set Designer Adam Mull. Creating a believable set was the most important thing from the outset, blending into the narrative without revealing that this world was imaginary for the first scene of the film. I think I may have pushed the boundaries too far initially, but John Krasinski was an anchor, reeling me back into alignment with his visual storytelling skills. We finally reached harmony with the design vision. The man upstairs apartment set would be a space with curves and contours infused with echoes of Coney Island and the little girl's vivid imagination. An organic space with web trusses, oversized fireplaces and exaggerated windows. The space would be different than but also deeply rooted in the real linear world of the grandmother's apartment downstairs. To bring these designs to life and to ensure cohesive visual storytelling, Model Maker Zack Gonchor crafted detailed physical models of all the sets, including a comprehensive model of the entire brownstone and its two apartments. These models served as invaluable tools during discussions with the director and other crew members, facilitating a clear understanding of the set aesthetics and functionality. Even in an age of advanced technology, I believe that physical models remain the most effective means of communication in the filmmaking process. A INT. GRANDMA'S APARTMENT 05 DET. 12: FIREPLACE MANTEL STAGE 27 06.21.22 ATM NOTED 13 A. GRANDMOTHER'S APARTMENT. HAND-DRAWN FIREPLACE DETAIL BY ADAM MULL. B. GRANDMOTHER'S LIVING ROOM IN PROGRESS. SET PHOTO. C. THE MAN UPSTAIRS APARTMENT. PHOTOSHOP ILLUSTRATION BY GREG HILL. D. THE MAN UPSTAIRS APARTMENT. PHOTOSHOP ILLUSTRATION BY GREG HILL. B C D