Issue link: https://digital.copcomm.com/i/1542693
And that's how the show developed: four sets during production on four different Saturdays. That included the rooftop of Harcourt's apartment for which I had chosen a lovely brick building, only to lose it to the budget a few months later. In a way, it was an impossible assignment, and yet I found it oddly thrilling because it didn't give you any time for thought. You had to rely on your instincts and hope that you were right. I wanted a dynamic rooftop set, and I envisioned the stairs leading to the top in the middle, dividing the space in two. I added the two glass domes and a mixture of textures: wood, cement, metal, patio lights and barbecue to add to the overall atmosphere. The Scenic Artists, led by Greg Moncrief, gave it a patina of age and grime. The VFX department, led by Marten Larsson, added the surrounding landscape; we supplied the tree tops near the roof. The production shot out of sequence on account of James Gunn's availability. The first director was Greg Mottola (The Daytrippers, Superbad, A. KRANK TOYS EXTERIOR. SET PHOTO. B. & C. KRANK TOYS INTERVIEW AREA. ILLUSTRATIONS BY HUGH SICOTTE. D. KRANK TOYS DINOZONE WALL MURAL. DESIGN ELEVATION. E. & F. KRANK TOYS INTERVIEW AREAS. SET PHOTOS. A B C D E F