Issue link: https://digital.copcomm.com/i/1526889
Mirroring the look of Route 1, the DR featured a road called Juan Dolio Boulevard, which ran parallel to the ocean where the production discovered an empty plot of land that we designated as the location for our 'Hurricane Street' small town. In SketchUp, I designed and built the strip mall, composing elements and ideas I had gathered on my Florida Keys scout. Nothing in the Keys as a whole satisfied the look we were trying to achieve, but in a snow globe, the look was there. Color palette, old and faded signage, tropical murals, unpaved parking lots and specific, period architectural facades all would help to place the film in a time gone past. This was the look that would define our Glass Key. After the design was established and working drawings developed for construction, Graphic Designer Wendy Stokes crafted expert signage that added authenticity and character to the storefronts. She also created several murals and original book covers for display in the hero bookstore, Glass Books. The construction of the entire strip mall was an extensive project, and unexpectedly, a large amount of greenery was required to finalize the appearance. Greensman David Carr skillfully managed the arrangement of palm trees and other plants. Finally, set decorator Cindy La Jeunesse completed the set so convincingly that we had to install roadblocks to deter several passersby who thought a new strip mall had opened. The Boat Upon arriving in Glass Key, the film's protagonist, Elwood Dalton, needed a temporary residence. Ignoring the suggestion of Frankie, the Road House owner, to stay at a 'quaint little motel up the road,' Dalton opts for a houseboat listed for rent at the local marina. Consistent with the rest of Glass Key, the production aimed to find a dilapidated A. BOOK COVER. GRAPHIC LAYOUT. B. DALTON'S HOUSEBOAT. SET PHOTO. C. GLASS KEY MARINA. ILLUSTRATION. A B C