Issue link: https://digital.copcomm.com/i/1526889
become a constant ally to the Art Department throughout the shoot. There would be no The Deliverance without Eli's artistry and diplomacy. March 31, I landed in Pittsburgh to begin scouting with easygoing location manager, Eric Dilucente, who knew what a rich bounty Pittsburgh offered of rusting bridges, dead steel mills and ruined neighborhoods. We also needed schools, hospitals, morgues, motel rooms, a chemo clinic, a haunted Catholic orphanage, bars, diners, hair salons and a period-correct McDonald's. We would need multiple churches: Baptist, Catholic, and spiciest of all, the Pentecostal Church where the Apostle leads prayer. The mood board count was now up to sixty. As we locked in winning locations, I began building a location storyboard for the show: one thumbnail image for each of the script's two hundred twenty-seven scenes. With this tool, we could see the operatic arc of our whole film: interior/exterior, clouds/rain/ snow, and dusk to midnight to dawn. Honestly, any horror movie is really all about a HOUSE, and the search for the right Jackson house exterior was the chief challenge. Checking my photos for scout day one, the very first photo shows a series of two-story brick houses with matched porches on a street overlooking a steel mill with chimneys belching smoke into the sky. I was struck by a corner house there and its porch featuring three brick arches. That place gave me the willies… A. LOCATION STORYBOARD 1 (OF 7). SHOWING THUMBNAILS OF THE FIRST 28 SCENES IN THE FILM. B. JACKSON HOUSE CONCEPT SKETCH: FIRST FLOOR BY STEVE SAKLAD, WITH A SUGGESTION OF WALLPAPERS PHOTOSHOPPED IN BY RAQUEL BOUVY. C. JACKSON HOUSE CONCEPT SKETCH: KITCHEN BY STEVE SAKLAD. UPDATED TO SHOW THE WALLS REPAINTED DEEP TAUPE. A C B