Issue link: https://digital.copcomm.com/i/1541514
and streets that became the backdrop for the revolutionary acts of the French 75. With support from local families and city officials —and through months of conversations led by the locations team—we filmed in an operational multi-generational bank, shut down downtown blocks and staged controlled explosions at a shuttered bank in Sacramento. All the chase sequences were informed by real crash videos we studied on YouTube, focusing on how ordinary accidents unfold. Working with picture car coordinator Rick Collins, we chose nondescript, aged cars—believable vehicles for characters who needed to hide in plain sight. Technology across the film mixed old and new elements—ham radios, payphones, 1G networks—based on research into tools revolutionaries could use to avoid tracking. Each device was wired for live recording so actors could perform conversations in real time. The result was a contemporary world stitched from fading analog parts. The process involved months of collaboration with real ham radio operators, who also operated the live radio heard in the final scene and aided the crew in teaching the actors. Bob's House Bob's home, deep among the redwoods, was designed as a collage of half-finished projects and solitary hobbies—rock collections, musical instruments, rusted car parts and a sofa molded to his shape. Over a dozen properties were scouted, most marked with "No Trespassing" signs, before finding this one through a Facebook post from the local film commissioner. The small footprint fit the story: Bob and Willa's lives overflowing a house too small to contain them. Working closely with Leonardo DiCaprio (Bob) and Paul, we explored Bob's evolution from revolutionary to cautious hermit, lost in conspiracy theories and self-help books. We built Willa's room as a crude add-on, with badly plastered walls and a tarp-covered roof. A custom stained-glass in the front door referenced those common throughout Humboldt. Art Director May Mitchell and Assistant Art Director Olivia Ferguson led construction through relentless rain for all the Eureka sets. They also enlisted local high school students to recreate their homecoming posters over a weekend pizza party to use on set. A. THE DOG POUND. PRODUCTION STILL. B. BOB'S HOUSE. SET PHOTO WITH SKETCHED ADD-ON OF WILLA'S BEDROOM BY FLORENCIA MARTIN. B. BOB'S HOUSE, ENTRANCE. SET PHOTO. A B C