Issue link: https://digital.copcomm.com/i/1538080
aughts period dressing, but later in the season, when Black & White slowly starts to "evolve" genres, pieces of set dressing are changed out and replaced with modern counterparts, e.g., landlines with cellphones and bulky computer monitors for laptops. Then there was the world that's rarely been seen on TV, the world inhabited by background characters. In our case, this was Willis's world, or Chinatown. The series saw this as the "real world," or at least, real in the sense that it had to feel emotionally real. The main sets here were The Golden Palace, the restaurant where Willis works with his best friend, Fatty Choi, and the SRO, modeled after single-room occupancy buildings, where multiple generations of immigrant families live in close, cramped quarters, commonly found across most Chinatowns. Authenticity and Evoking a Sense of Community Reading the scripts for Interior Chinatown instantly conjured sensory memories of a Chinese restaurant my family and I used to frequent in Downtown Los Angeles, and I wanted the design of The Golden Palace to reflect the same sense of thoughtfulness and tradition as that establishment. Uncle Wu, who is both Willis's boss and the owner of The Golden Palace, takes great pride in running his restaurant, and throughout the series, it's where the people of Chinatown gather to celebrate or mourn as a community. I wanted the design to reflect this cultural and communal importance. For the SRO, I wanted it to have the feeling of generations stacked on top of one another, from the octogenarian Old Fong to Willis and Fatty throwing a rager on the top floor. I also wanted it to reflect the blending of cultures, of old and new. You can see that in Willis's and Fatty's rooms, where they have more "Americanized" band posters and streetwear, whereas in Lily's room, there are traces of her traditional culture, such as the ancestral altar, which I knew was of great significance to Charlie, and thus it was important to me that we got it right. As a main part of the show is about satirizing Orientalism and how Western society has often misrepresented Asian culture throughout media history, it was obviously especially important that the design team took great care in showcasing the little details. We did a lot of research, including a trip to San Francisco's Chinatown with cinematographer Michael Berlucchi. I also relied on my team, as well as other department heads and crew members coming from immigrant backgrounds, who were more than happy to share their stories. These insights fostered a wonderful camaraderie among the crew and the people we were working with, and this deep communal learning became an integral part of the collaboration SET NAME: LOCATION: PD. AD. DRAWN BY. SCALE: DRAWING: SET # SHEET # DATE: DISTRIBUTION: PRODUCTION CONSTRUCTION PAINT SET DEC LOCATION SPFX VFX GREENS CAMERA GRIP ELECTRIC PROPS VEHICLE ART REVISION: Kate Bunch Chikako Suzuki 101 17 STAGE 15 12.20.22 AS NOTED YU-HSUAN CHEN INT. GOLDEN PALACE (EXTERIOR FACADE) BUILDING FACADE ROOF RELEASED P188 P249 P136 P188 P249 P249 P188 P249 P136 P188 P249 P249 P249 P249 P249 P249 P136 P188 P249 P188 P249 P249 P188 P249 CL CL 1 1 CL ROOF ELEVATION Scale: 1/4" = 1'-0" A ROOF ELEVATION Scale: 1/4" = 1'-0" B ROOF ELEVATION Scale: 1/4" = 1'-0" C 23.00° PAINT WOOD WB ROOF TILE #F39 LIGHTBOX : 20'-0" X 3'-6" BANNER : 15'-0" X 3'-0" AWNING ON LOCATION AWNING ON LOCATION PAINT WOOD WB ROOF TILE #F39 AWNING ON LOCATION 6" 4 1/2" 5'-5 1/4" 12'-4" 12'-1" 2'-7" 26'-4 1/2" 36'-11" 38'-0" 6" 4 1/2" 5'-5 1/4" 12'-4" 12'-1" 6" 4 1/2" 5'-5 1/4" 12'-4" 12'-1" 6" 18'-7 1/2" 40.00° 23.00° 16'-11" 11'-9" 18'-11 1/2" 19'-8 1/2" 30'-1 1/2" 29'-0 1/2" 18'-6" ROOF TILE SHEET (NO CURVE) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE SHEET (NO CURVE) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE SHEET (NO CURVE) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) UP A B C ROOF PLAN Scale: 1/4" = 1'-0" 1 INT. GOLDEN PALACE ENT. SIDE WALK ENT. SIDE WALK AWNING ON LOCATION 36'-11" 38'-0" 26'-4 1/2" 3" 3" 3" 3" 11'-9" 18'-6" 29'-0 1/2" 30'-1 1/2" 19'-8 1/2" 18'-11" 50.00° 64.00° 8'-7 7/8" 4'-4" 92.00° 50.00° 50.00° 64.00° 50.00° 8" 6'-0" 6'-8" 3" 6'-11 1/2" 8" 6'-0" 4'-8" 4'-10" 4'-7 1/2" 5'-2 3/4" 4'-6" 4'-8" ROOF TILE SHEET (NO CURVE) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE (CURVE PORTION) ROOF TILE SHEET (NO CURVE) ROOF TILE SHEET (NO CURVE) ROOF TILES: WB ROOF TILE #F39 WB ROOF TILE #F39 WB ROOF TILE #F39 GOLDEN PALACE LIGHT BOX EXISTING AWNING BOTTOM PLUG UP RCP Scale: 1/4" = 1'-0" 1 INT. GOLDEN PALACE ENT. SIDE WALK ENT. SIDE WALK 4" 1'-0" 4" 1'-0" 2" 6" 2" 6" 7'-6 1/8" 7'-6" 7'-8 1/2" 2" 6" 2" 2'-5" 4'-0" 33'-4" 5'-7" 26'-8" 10'-5 1/2" 16'-5 1/2" 25'-11" 18'-5" 4'-10 3/4" 6'-9" 5'-0 1/4" 7'-2 1/2" 4'-10" 6'-8" 2" WIDE RIBS UNDERNEATH THE ROOF TILE SHEET 2" WIDE RIBS UNDERNEATH THE ROOF TILE SHEET 2" WIDE RIBS UNDERNEATH THE ROOF TILE SHEET 4" WIDE RIBS UNDERNEATH THE BOTTOM PLUG 4" WIDE RIBS UNDERNEATH THE BOTTOM PLUG 4" WIDE RIBS UNDERNEATH THE BOTTOM PLUG DTL 11 SHT 17.1 CORNER DETAIL DTL 11 SHT 17.1 CORNER DETAIL REFERENCE IMAGE: MODEL VIEW: RELEASED 12/20/22 @ 7PM A. CONCEPT ILLUSTRATION OF THE GOLDEN PALACE BY TIM LAWRENCE. B. GOLDEN PALACE EXTERIOR ON THE UNIVERSAL BACKLOT. CONSTRUCTION DRAWING BY YU-HSUAN CHEN. C. THE GOLDEN PALACE/ CHINATOWN GRAPHICS BY JOE CHANG AND MAMIE YOUNG. A B C