Issue link: https://digital.copcomm.com/i/1538080
because everyone could bring their authentic life experiences into the design. For example, set decorator Adrienne Garcia remembered her grandmother saving plastic yogurt containers to use in the shower and stacking things so that you don't waste a single inch of storage space, and it was a beautiful process to find how many shared experiences there were between different cultures. We also had cultural consultants brought on in an official capacity to help check our spelling, grammar and the nuances of our designs. There were some instances where the design had to veer away from authenticity. In reality, an SRO room would be much smaller than we made them. The sizes of our SRO rooms were made larger as the rooms needed to accommodate actors, camera equipment, lights, crew and the various necessities of a television set. In the end, the clever use of camera lenses by Michael helped to make the spaces feel smaller and more cramped. Bringing Chinatown to Life: On Stage and On Location Another story point that proved tricky to execute was the idea that Willis had never ventured out of Chinatown in his life. Charlie had this vision of a giant car tunnel separating Chinatown from the rest of Port Harbour. The production had a budget for VFX, but not of this magnitude. We weren't going to be able to VFX the end of the street every time we looked in that direction—plus, we would have had to shut down the main thoroughfare of Universal, and thus the studio tour. NOT GOING TO HAPPEN. Ultimately, the problem was solved by taking advantage of sightlines, a strategic corner and some green screen. A fairly simple solve once the SET NAME: SET SHEET DATE: DISTRIBUTION: PRODUCTION GREENS ART REVISION: S C A L E: 1/ 2" = 1'- 0 " - F A C A D E 9 - 29'-3" overall 2'-6" 5'-0" 1'-2" 1'-2" 6'-10" 6'-10" 6'-4" 6" 6" 5'-6" 6'-2" 4'-10" 7'-4" 1'-9" 4'-0" 1'-9" 1'-9" 3'-3" 1'-9" 9" 3" 6" 4" 3" 3'-0" 4'-8" 10" 10" 2'-6" 1'-10" diameter 5" 3'-8 1/2" 3'-1" 5'-6" ext. street/outside golden palace 03/07/2023 11 10 AWNING & GRAPHIC SECURITY BARS SECURITY BARS SECURITY GATE AWNING GRAPHIC LIGHTBOX S C A L E: 1/ 2" = 1'- 0 " - F A C A D E 9 A 6'-2" 2'-9" 15'-0" 4'-3 1/2" 1'-9" 1'-0" 5" 4" 4'-0" 2'-9" 3'-5" 3'-2" 2'-9" 4'-0" 2'-9" 3'-5" 3'-2" 10'-9" 2'-6" 8'-0" 10'-6" 6 1/2" P10 1x4 Lion Fox 402 Lion Fox 402 Lion Fox 402 6 1/2" P10 1x4 2'-6" 2'-6" 5" 8'-0" 2'-6" 5" 1'-0" 1'-1" 5" fox CR13 1'-1" 1'-1" 1'-3" P132 2'-0" 6" Chamfered Edge moulding 8" 8" P131 P277 Door casing 154 3'-3 3/4" p179 column typ fox b17 fox b57 fox m29 p132 2" 3" 5'-2" 1'-1 1/2" 1 1/2" P119 P119 7'-6" 7'-6" 2'-0" REUSE FIRE ESCAPE FROM UNI 9'-10" TOP OR ARCH OPEING 8'-0" P181 arch rad 1'-9" window rad 2-'6" 1'-1" 2'-0" 6" 1'-8" 2'-6" 1'-0" 8'-0" 15'-0" 3'-3 3/4" 3 1/2" 1'-1" 2'-6" 1'-1" 2'-6" 2'-0" S C A L E: 1/ 2" = 1'- 0 " - F A C A D E 9 E E a b c 15'-0" 2'-6" 8'-0" FOX CR13 7'-3" 1'-10" 7'-6" 3 1/2" 2'-0" 8 1/2" 10'-6" 2'-6" S C A L E: 1/ 2" = 1'- 0 " - F A C A D E 9 C P132 2'-6" 8'-0" p10 1x4 p179 p132 p131 p277 9'-10" arch opening 1'-1" 2'-6" 1'-1" 2'-6" 1'-0" 1'-1" 3 1/2" 9'-6" 1'-0" fox b17 10'-6" 15'-0" 3'-3 3/4" p187 fox M29 p183 7'-6" 1'-7 1/2" 3 1/2" 1'-1" S C A L E: 1/ 2" = 1'- 0 " - F A C A D E 9 B 8'-0" P181 S C A L E: 1/ 2" = 1'- 0 " - F A C A D E 9 D P179 2'-6" 6" 1'-11 1/2" 6 1/2" 2'-0" Capitals Fox CR13 QTY 6 lions uni 402 QTY 4 Arch Corbal Fox b17 QTY 1 window corbals Fox B57 QTY 8 plant-on pieces D 1 1/2" 5" 1 1/2" 6 1/2" P179 P183 p187 fox m29 1 1/2" 3/4" 1" 1/4" 1 1/2" 1 1/2" crown piece det1 8.1 det2 8.2 double door single door det3 8.3 window ledge 1 TRANSOM HEIGHT CHANGED; SEE DOOR DETAIL D. GOLDEN PALACE EXTERIOR ON THE UNIVERSAL BACKLOT. E. GOLDEN PALACE EXTERIOR BUILT ON STAGE. F. CONSTRUCTION DRAWING OF CHINATOWN GENERAL STORE BY DINA MUSTAKIM. G. & H. EXTERIOR CHINATOWN STREET ON STAGE. SET PHOTOS. D E F H G