Issue link: https://digital.copcomm.com/i/1533577
S E A L T E A M | P E R S P E C T I V E 5 5 necessarily a big fan of military shows, and in my first meeting with Chris Chulack, one of the show's executive producers who also happened to direct the pilot, he made it very clear that to keep this project as accurate as possible, the consultants would have a lot to do with the look of the show. Taking a deep breath, I considered that approach—and the concept that every designer loves, the idea of design by committee—would be an interesting challenge. Having not actually served in the military, although being old enough to have registered for the draft at the tail end of the Vietnam War, the idea of telling these stories with some help from those who actually lived them seemed intriguing. The production's base of operations was in Studio City at what is now known as the Radford Studio Center, where we had two stages filled to the brim with everything from a giant C-17 transport plane set, alongside our DEVGRU headquarters and the various offices, meeting rooms, OPs centers, etc., that make up the world on the military base. Fortunately, we were able to further realize this life on the base by using amazing locations at a closed-down mental hospital in Pomona, as well as a non-working section of the airport in Riverside. Basically, we shot anyplace that we could find structures appropriate to a military installation. Runways, Quonset huts, hangars, LAPD firing ranges…anywhere that we could believably create this military world became our sandbox. Having the ability to take our scenes off the stage and out into the world gave them the ability to breathe and gave our writers and directors a much larger playground to flesh out this world. A. AMERICAN EMBASSY IN YEMEN SET. BUILT ON LOCATION IN POMONA, CA.