Issue link: https://digital.copcomm.com/i/1529668
draw inspiration from this genre by designing each moment of the narrative as a single point-of-view set, built in a theatrical style using cutouts and painted backdrops. Due to the wedge-shaped nature of these sets, we could squeeze them in between our larger stage pieces, sometimes having the camera positioned between two other sets to achieve the proper perspective and alignment. The sets were all painted in black, white and silver and filmed using a dual process that blended infrared with traditional footage. The finished effect gave the scene a unique look that stood apart from the rest of the film. It was so effective that Tim decided to rework the voiceover into Italian with subtitles to fully embrace the style! As the London shoot drew to a close, the production prepared to head for America. Traveling ahead of the main unit to finalize the sets, I found the Deetz house in East Corinth nearing completion. The black mourning veil was just starting to be hung. Constructed like a giant piece of clothing, the veil's fabric pieces were carefully cut to fit. Once in place, the drapes team used cherry pickers and staple guns to ensure it draped perfectly, a challenging task atop a windswept hill! Back down in the town, thanks to social media, word of the production's return spread quickly, and crowds began gathering even before we started shooting the next day. The atmosphere felt more like a festival than a film set! As our dressing team wrapped for the day and we went over the final details, the light rain (that had started earlier) grew heavier. Quickly, we covered the exterior dressing and retreated to our hotels as the downpour intensified. As night fell, stories circulated that some crew members had been unable to return to their lodgings—the rain was now torrential, and it became clear this was no ordinary storm. It was, in fact, the worst storm to A. PASSPORT AND IMMIGRATION. THUMBNAIL SKETCH BY MARK SCRUTON. B. PASSPORT AND IMMIGRATION. ILLUSTRATION BY THOMAS DU CREST. C. PASSPORT AND IMMIGRATION UNDER CONSTRUCTION ON M STAGE. D. WOLF JACKSON'S OFFICE. BLENDER ILLUSTRATION BY THOMAS DU CREST RENDERED FROM MODEL BY MARK SCRUTON. E. & F. WOLF JACKSON'S OFFICE. SET PHOTOS. G. DESTROYED MONASTERY SET BEING PAINTED, SHOWING SCENIC PAINTING BEHIND BY RUSSELL OXLEY. E F G