Issue link: https://digital.copcomm.com/i/1542693
How many meetings does it take to figure out how to lift Elton John up on a platform from under the stage, then drop an 18-foot Stonehenge monument on him, his very expensive piano and each iconic member of Spinal Tap? The answer is more than we ever thought to count. Those meetings were dedicated to the climax of the film, which was the big reunion concert. They required the focused input of every department, but the heaviest involvement was required by Art, stunts, SFX, grips, audio technicians and an incredible lighting designer, Mike Baldassari. This very big gag was on top of the fact that this was happening at the end of a real rock-and-roll concert with a live audience of extras at the Lakefront Arena in New Orleans. The logistics involved for the framework of the concert were tackled with astounding rigor by the grip and electrical departments in close collaboration with Mike's expertise as a lighting director for major acts across music, film and theater around the world. In collaborating with Mike on the look of the concert stage, I first had to meet with Rob and the band about what they envisioned. They referenced their 1992 performance at Royal Albert Hall and the small octagonal lighting trusses noticeable above them. When I showed Mike the video and explained the other elements, including Elton's platform, pyrotechnics and smoke, the Stonehenge monument lowering from above, screens and other details we had worked out through physical and SketchUp models, he was able to create a dynamic and memorable lighting system for the show. Art Director Mark Terry wrangled all the details with special effects, grips, locations, scenics and construction to execute the gag. D. REHEARSAL SPACE. PRODUCTION STILL. BLEECKER STREET/KYLE KAPLAN. E. STONEHENGE MONUMENT, SFX TESTING. SET PHOTO. F. STONEHENGE MONUMENT IN PROGRESS. SET PHOTO. D E F