Issue link: https://digital.copcomm.com/i/1538080
camera to see him with the red neon glow from the bail bonds sign over his right shoulder and a view of his greatest sin over his left shoulder—a chilling tableau. The colors for this set are muted with red, burnt orange, blue and mustard yellows. Hub's apartment was once the gas station office, which he converted into his bachelor pad. It's more practical than comfortable. I wanted him to feel out of place and not quite settled, and leaned into more muted earth tones—grays, greens, beiges, and a mix of concrete, metal and wood paneling. He repurposed old items into his furnishings and only bought what was necessary. For example, the old truck's backseat, which functions as his sofa, and the stock shelving he converted into his kitchenette. Hints of his music history are seen in the space, a guitar discarded in the corner and covered with dust—a cue to his past life, now lost. The front of the apartment has the old gas station elements intact—a nod to the past functionality of the space. Off that area lies the bathroom set. Hub has converted the women's stall into his shower using a garden hose and nozzle setup. I had the idea to black out the w(omen) in the sign above to foreshadow what's to come—a little Easter egg for anyone paying attention. The back of the bond shop comprises a series of utility rooms, including a detention cage, armory lockup and tool shed. It provides the camera and actors with a path on the outer edge of the set, offering numerous dynamic locations to fight off demons, and is accessible through doors in the garage, apartment or exterior. To ground the tone, the space features textures such as concrete blocks and metal, paired with deep earth tones of greens and browns in the palette. The Boxcar is a step on the road to Nashville fame. A place where major acts cycle through before catching their big break. This is the principal location where Maryanne and Lucky exist, and Hub crosses through, creating the show's love triangle; a set that feels evocative of the famous country bars of old and the perfect backdrop for a vibrant starlet, Maryanne, to shine. The production aimed to tap into nostalgia in this set, evoking feelings of warmth, comfort, and the familiar. The space of The Boxcar has evolved over the years, with walls knocked down to expand into adjacent buildings. This idea enabled the Art Department to design the SANAA HAMRI ERIK OLESON, ERIK HOLMBERG SANAA HAMRI ERIK OLESON, ERIK HOLMBERG E. EXTERIOR KITTY'S HOUSE. ELEVATIONS. DRAWN IN VECTORWORKS BY XI YANG. F. EXTERIOR KITTY'S HOUSE. SKETCHUP MODEL BY XI YANG. G. EXTERIOR KITTY'S HOUSE. SET PHOTO. H. KITTY'S PORCH. BUILT ON LOCATION IN SENOIA, GA. PRODUCTION STILL. F E G H