Issue link: https://digital.copcomm.com/i/1539634
production, we were finally able to work on a love letter while experiencing the horror of the fires in the Palisades and Altadena. People on our crew that week were on an anxious rotation of watching for evacuation orders, evacuating temporarily, then returning to work, until we finally took a pause for the worst of the fires. In the end, our teams were safe. However, a family that the production had grown close to, who graciously opened their home to us, lost their home. To us, it was Deb's LA mansion in Altadena, to them, it was everything. Thankfully, they were safe, though a piece of film history was not. We are grateful for them and for all the seasons we'd spent there. After the fires, we provided the family with floor plans and all the photos we'd taken of their space over the years to aid in their next steps. Something I know many Art, set dec and location departments have been able to do across our industry. In the end, the company had an incredible season full of wonderful challenges seen through the eyes of five months of hiatus amnesia: how to represent "Late Night" in a way that felt real and very Deborah Vance, how to best utilize our limited stage space while maintaining Hacks quality sets, how to ebb and flow gracefully under the inexorably crushing weight of an ambitious television schedule. It is both a joy and terribly difficult to make anything these days, and an unfortunate rarity to do so at home in LA. I'm grateful to design a show in-town with a team of such spectacularly talented artists, craftspeople, technicians and creative minds. As someone who has been a fan of the show since its first season, to have contributed creatively for the last three has been a dream. ADG F-I. LSSL OFFICES. SET PHOTOS. Rob Tokarz, Production Designer Jeanine A. Ringer, Art Director Victoria Tam, Brontë Campbell, Assistant Art Directors Darcy Prevost, Xi Yang, Set Designers Lori West, Graphic Designer Jennifer Lukehart, Set Decorator F H G I