Issue link: https://digital.copcomm.com/i/1533577
The dollhouse effect was achieved through a blend of practical ingenuity and digital wizardry. The crew physically removed the south walls of the sets on multiple stages, and VFX extended the camera moves through the stage walls (which we could not remove). The result? The separate sets were combined into a seamless glide through the full-size White House rooms, as if a child were effortlessly guiding her dolls through their miniature world. Throughout the production, the crew faced a series of extraordinary challenges, each more daunting than the last. From the lingering effects of the pandemic—where the Production Designer, Supervising Art Director and set decorator were all struck with COVID simultaneously (after attending the ADG Awards!), to the complications brought on by the WGA/SAG strikes. We also navigated the delicate circumstances surrounding our lead actor's pregnancy and the heartbreaking loss of another key actor, which led to crucial reshoots during the final stretch of principal photography. Each of these obstacles, formidable in their own right, came together to form a complex steeplechase. Yet through it all, producer Merri Howard demonstrated unwavering resilience, rising to each challenge with steadfast leadership An example of one such hurdle was the loss of scheduled locations, forcing the production to build a set at the last moment. Yet again, the A. ECUADOR MOUNTAIN AIRPORT BUILT AT SOUTH COAST BOTANICAL GARDEN. SET PHOTO. B. & C. WHITE HOUSE ROOMS WITH SOUTH FACADE WALLS REMOVED FOR DOLLHOUSE SEQUENCE. SET PHOTO. D. BLUE ROOM. STAGE 11. DRAWN BY CLAUDIA ETHRIDGE. CUSTOM WALLPAPER DESIGNED BY MIGUEL ROSERO AND CUSTOM CARPET DESIGNED BY SAMARA EHKLE. SET PHOTO. E. RED ROOM, STAGE 11/12. DRAWN BY CLAUDIA ETHRIDGE. CUSTOM CARPET DESIGNED BY SAMARA EHKLE. F. SENATE HEARING ROOM WITH CUSTOM SCONCES. SET PHOTO. G. THE RESIDENCE CAST ONSTAGE IN THE DIPLOMATIC RECEPTION ROOM. PRODUCTION STILL. A C E D B