Issue link: https://digital.copcomm.com/i/1541514
open, begging Sammie into the interior darkness, inviting him into the fray. The triangle window at the top of the gable is open, it's now a black triangle hard in its edges, suggesting something more foreboding. As we pan around to see inside, the dark figure of Jedidiah stands at the pulpit framed by the white walls draped in early morning shadow, the open door behind him (an ode to the shotgun house) backlighting his imposing figure, almost like an aura of light surrounding the darkness of his figure. I wanted everything about the church to be heavier, entering wearier, more reluctant. The next morning, we see the church after the events at The Juke, the church doors and the small triangle window at the peak of the gable are closed. The church gives a more ethereal all white, save the wood planked doors each decorated with wood X braces. This morning, there is a softness to the sky, the white of the church beckons Sammie to its warm embrace, to safety and exultation. Red represented capitalism, hedonism, the secret parts that people hide during the day, but A. SAMMIE LOOKS FOR HIS GUITAR AT JEDIDIAH'S CHURCH. PRODUCTION STILL. B. MORNING AFTER THE JUKE AT JEDIDIAH'S CHURCH. PRODUCTION STILL. C. INTERIOR ON JEDIDIAH'S CHURCH ON SUNFLOWER PLANATION. PRODUCTION STILL. B C A D E F