Issue link: https://digital.copcomm.com/i/1526889
Bourne) set forth a clear mandate; they wanted a partner. The script was spare and elegant, and it was all on the page. Alex trusted my judgment, and was unfailingly hearty in his approbation. A24 gave unflagging support to the Art Department. They realized full well the massive undertaking we were about to embark on, and relied on us to pull it off. The film shot in script order, so our biggest sets were at the end of the shoot. Except for VFX plates and helicopter shots to establish New York and DC, we shot entirely in and around Atlanta. The crew was prepping and filming in all four directions from our home base, and my supremely capable Supervising Art Director, Mark Dillon, and I would often spend four or five hours a day driving between locations. We were in our vehicles for about as long as the journalists were in theirs (but we never did a high-speed passenger transfer). Mark pulled off miracles every day, offering multiple solutions for every issue. He was the camping pal who always had the map ready and knew how far the next rest area was. Alex wanted no visual references to explain the state of the world, no American or any other country's history, no callbacks to the first Civil War. No mention of any real politician, living or dead. The script didn't reveal why Texas and California were aligned, what anyone was for or against. We just had to build a convincing visual landscape for the future to occur in, uniquely American in tone, and this was a viscerally terrifying concept. We are not acknowledging the past, nor the present. This new world has to be real and it has to be accurate, and we chose the look of this future very carefully. This was not the project where you put crew names on signage, or make flyers for bands with jokey names. The production got research from the 24-hour news cycle, grabbing screen shots of ongoing atrocities in Ukraine. For an early scene set in B. BROOKLYN DELI. SHIPPING CONTAINER WITH FULL-SCALE FACADE LAYOUT. C. BROOKLYN DELI FACADE IN PROGRESS. D. & E. BROOKLYN DELI SHELL DRESSED INTO ATLANTA LOCATION. SET PHOTOS. B D C E