Issue link: https://digital.copcomm.com/i/1535796
8 2 P E R S P E C T I V E M AY / J U N E 2 0 2 5 In the summer of 2022, former collaborator and producer, Mollye Asher, reached out to me about the possibility of designing the film adaptation of Shannon Pufahl's acclaimed novel, On Swift Horses —a sweeping epic romance which explores queer love in the promising yet restricting era of 1950s America. Director Daniel Minahan and producer Peter Spears, longtime friends and first-time collaborators, had both been profoundly moved by the book and its thoughtful exploration of queer relationships, specifically because the story was not mired in tragedy as many LGBTQ depictions in pop culture often are, this story, while not free of pain, contained hope. It was from this place of emotional authenticity that Dan, DP Luc Montpellier and I began our discussions and shared vision for the cinematic language of the film; one that would attempt to balance the vast scale of the story with the detailed intimacy of the intertwining relationships, using the color photography of Fred Herzog, Ernst Haas and Vivian Maier as touchstones and the paintings of John Koch for lighting and mood. A period film innately provides the challenge of recreation, but it was the crosscutting stories of self-discovery and secrecy that excited me most as a designer. And much like the rose-colored glasses of a budding romance, the reality of shooting a feature film set in 1957 with seventy-one sets, spanning two countries, and three states (including a Vegas casino) under a Tier 3 contract, with only thirty days to shoot, began to truly sink in. In the early days of preproduction, Mollye had mentioned to me that at one point they debated shooting the film in New Mexico because of the incentives. While I agreed with her that it would have been possible with a CA unit for a few key exteriors, I felt strongly that they had made the right decision with a budget of their size, based on what the script was asking for and Dan's unwavering vision. It was entirely because of the extensive network of skilled union members and seasoned vendors existing in Los Angeles that I believed shooting this film as written would only be possible in the city where "movie magic" was born. The most important hiring decision I made came with the guidance of a treasured former Mad Men collaborator, set decorator Claudette Didul, who introduced to me a former buyer of hers and now accomplished decorator in her own right, Melissa Licht. We immediately hit it off personally and most importantly with our working styles and vision for the project. The undertaking of this film would not have been possible without Melissa and her team, especially leadman Jefferson Murff, who I was honored to be working with again after ten years earlier meeting him as an Art Department assistant. Melissa and deft prop master Dwayne A. EL KAROO CASINO FLOOR. SHOT ON LOCATION AT AMC PROMENADE MALL PRODUCTION STILL. B. SAN DIEGO BOARDING HOUSE. SHOT ON LOCATION AT RSI. PRODUCTION STILL. C. SAN DIEGO MISSION VALLEY SUBDIVISION INTERIOR. MURIEL AND LEE'S HOUSE. SHOT ON LOCATION IN SANTA CLARITA. PRODUCTION STILL. A