Issue link: https://digital.copcomm.com/i/1526889
4 0 P E R S P E C T I V E | S E P T E M B E R / O C T O B E R 2 0 2 4 that Ebony had picked a rear bedroom for herself and turned the front master bedroom into the kids' room, which gave every kids' scene oodles of shooting space. Lee loved a mural I'd included in my kids' room mood board, so we designed their bedroom to feature a hand-painted mural that the son is seen painting in scene one. Here I could introduce all those Pittsburgh icons—rivers, bridges, steel mills, churches—that would perfectly match the locations in the rest of the film. The bedroom for Alberta, Glenn Close's grandma, went through the fewest revisions of any of the spaces—the rose-toned grass cloth walls felt right for this low-rent high-drama lady, and decorator Becky Brown found the perfect '80s cream and gold furniture suite to tell us what the lady had brought with her to this household. Glenn even sent me a lovely note thanking Becky and me for her bedroom design—a first for me in this business. Ebony's bedroom decor was a struggle right up to the morning the set was opened. The more yards of snow-white linens and white fur we added to the decor, the happier Lee became. I'm satisfied with the luxe look we achieved, but still feel it tells the A. PENTECOSTAL CHAPEL CONCEPT SKETCH BY STEVE SAKLAD. SHOWING THE NEW PRAYER DAIS WITH COLUMNED PORTAL. B. PENTECOSTAL CHAPEL WITH COMPLETED DECOR. SET PHOTO. C. PENTECOSTAL PRAYER ROOM CONCEPT SKETCH BY STEVE SAKLAD. SHOWING THE HEBRAIC SET DRESSING AND BLOOD-RED VELVET WALLS. D. PENTECOSTAL PRAYER ROOM. FULLY DRESSED WITH KNEELER, CANDELABRAS AND SCARLET SEATING. SET PHOTO. C A B D E F