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 9 Choreographing all these scenes was challenging; it took a while to light a space of this size, and logistics were a nightmare, but after a while, we were determined to make it work. We decided that instead of doing something resembling the original Mutiny nightclub, we wanted to reinvent it from scratch. Now we had a new problem: How would we deal with the exterior and drive-ups? The various arrivals of Griselda and how she changed from one meeting to the next were crucial for the storytelling, the drama of it all. My idea was to find a building, possibly even an actual hotel, that had at least a few of the Mutiny features, architectural details, building size and a beautiful port cochere for the arrival of the cars. I was convinced it did not have to match any Queen Mary details. I wanted to treat the nightclub like a "theme interior" installed in a more modern building. We did find a building that fitted the brief. Unfortunately, it was far away in the City of Industry, but it was a good location and their PR team went along with everything we wanted to change. The most significant change had to be the red brick façade, as it is uncommon in Florida. We covered the ground floor brickwork with custom- made, laser-cut, golden screens, making the whole thing look much more expensive. Columns SET NAME: LOCATION: DATE/TIME: SCALE: SET#: EPISODE: DRAWN BY: EXT. MUTINY HOTEL BB 11/30/21 CONCEPT ILLUSTRATION E. MUTINY HOTEL EXTERIOR. DESIGN BOARD WITH RENDERING, LOCATION PHOTO AND GOLD SCREEN ELEVATION. F. MUTINY HOTEL EXTERIOR. SHOT AT A CITY OF INDUSTRY LOCATION. SET PHOTO. F E