Issue link: https://digital.copcomm.com/i/1541514
car. We turned down the road and, after a while, saw a small sharecropper house at the edge of a cotton field. It was adorned with all types of bric-a-brac, string lights, bicycles, hubcaps, signs, pictures and bits of shiny beads. There was a historical marker with a sentence or two about the old Juke. It had certainly seen better days. I could just imagine the nights of dancing and drinking, couples walking down the road to the Juke. I imagined a group of men throwing dice outside on the side of the house turned Juke. To see Po' Monkey's Juke was to see the world that gave it life. On the way back to New Orleans, I started to understand the complexity of this place, and the complexity of the people who lived through the best of it and the worst. This was more Hannah Beachler, Production Designer Jesse Rosenthal, Lead Art Director Jon Cappel, Timotheus Davis, Art Directors Otto Dinkelacker, Assistant Art Director Jessica Stumpf, Set Designer Tessa Wessels, Nikkolas Smith, Illustrators Logan Ledford, Graphic Artist Monique Champagne, Set Decorator than just a Southern town. It was more than the supernatural evil of vampires. It is red, white and blue. An American story through and through with the ever-present culture of wealth, poverty, ownership, loss, culture, ancestors, future ancestors, freedom, gangsters, big sky, hard work, dreams, horror and hope. One thing I love about working with Ryan is I never know what's next, where he'll take me, take us, or what the journey will be. There's an excitement and anticipation that I love the closer we get to principal photography, like a kid getting butterflies in their stomach before a game or recital. There's a creative freedom and collaboration that is comfortable, nurturing and familiar. ADG D E