Issue link: https://digital.copcomm.com/i/1535796
reflections. When he comes out to accept his election, he is still framed behind large panels of glass, trapped metaphorically but talking about breaking free "together." The action proceeds through various tight spaces in the White House, literally trapping him in a box below ground in the film's version of the secret situation room. He only gets out of that box to be found in the stark architecture of Japan, failing to win the support of the Prime Minister there (another great addition in reshoots by Clint). Then he goes to war in a command and control center deep inside a battleship. We don't ever see him in an open space until he thinks he has finally righted the course, and strides out into the Rose Garden. But then Sterns springs his trap, turning Ross into Red Hulk, literally destroying the boxed spaces of the White House. To create the final battle, the production explored many iterations of a fight between Red Hulk and the story's four heroes. But that effort, while grounding the action in real D.C. environments, didn't allow the story to focus on the main character arcs of Sam and Ross. So, to fulfill the film's emotional journey, Julius remembered how peaceful it was as a child to walk among Washington's cherry blossoms. He envisioned the rage of Red Hulk playing against Sam's calm humanity there, bringing the final fight down to just the two of them and showing both freeing themselves in the open. To make that happen practically was a whole other battle, utilizing the skills and talents of Vincent D'Aquino and his greens team, Fred Arbegast overseeing talented sculptors, and construction coordinator John Hoskins organizing the very quick turnaround from the built backlot set of the Rose Garden to the trees of Hains Point, all with the careful planning of Art Director Jay Pelissier. In the long run, what I am most proud of in this effort is how a skilled Art Department, including the stellar work of Rosemary Brandenburg and John Naehrlich in set decoration and property master Russel Bobbitt, took on the goal of creating a very grounded superhero movie that still felt very cinematic. The talents of the DP Kramer Morgenthau made sure of that. To tell that grounded story also took the indefatigable Ilt Jones in locations—oh, those many, many, many wonderful hours scouting while hearing both great music and great stories in Ilt's car! That effort even helped meet the budget goal, as we completed around 10% under the initial allotment! Most importantly, we leveraged the skills and talents—and good will—of the wonderful team listed here to unlock this story of Captain America, harnessing the power of Production Design and the tools of visual narrative to shape the development of the movie, even if, in the end, the movie doesn't look very "designed" at all! ADG Ramsey Aver y, Production Designer Alan Hook, Super vising Art Director Clint Wallace, Lead Art Director Additional Photography Zachar y Fannin, Kristin Lekki, Jay Pelissier, Art Directors Br ynna Nor vell, Hunter Brown, Art Directors- Additional Photography Carolyn Smith, Joshua Wells, Assistant Art Directors Vincent Bates, Nick S. Cross, Sarah Forrest, Daniel R. Jennings, Anne Porter, Sarah Ruiz Del Vizo, Kevin Vicker y, Aaron Kelly (Add. Photo.), Set Designers Jonathan Bach, James G. Chung, Louis Joseph Comeau IV, Fausto De Martini, Phil Saunders, David Swayze, Concept Artists Patrick Faulwetter, Thang Le, Sam Michlap, Illustrators Susan A. Burig (Lead), Kelsey Brennan, Kristopher Gifford, Meagan Lee (Add Photo.), Graphic Designers Rosemar y Brandenburg Set Decorator C