Issue link: https://digital.copcomm.com/i/1546033
The 1908 Carnival For two episodes, the story flashes back fifty- four years, and viewers learn how and why It chose to take the famous form of Pennywise, the clown. The exterior of his vardo wagon was established in the first film, and the inside was built for It: Chapter 2. However, what was exciting this time around was that we were able to establish the lore of the world he came from. Andy had a story to tell through Pennywise's act. We had to devise a rudimentary stage setting to tell it, and most importantly, illustrate children's fascination with the clown. We realize in this setting why It adopts this guise. There were a lot of references in photo archives and books for this world, and Graphic Designer John Moran also had a full-sized carnival banner from the 1940s in his personal collection. We used it to accurately manufacture the leather-reinforced corner ties and gauge the correct thickness of the canvas. Illustrators Theresa Shain and Joey Beelich digitally painted most of the banner art, and John Moran and Jeremy Gillespie designed the text. These were prepped very early in our schedule, then hung and hand-painted by our scenic artists on the perimeter of the stage walls and aged with washes using pigment and dirt we collected from the actual location. The Penobscot Village In a flashback to the 1600s, the series created an Indigenous Penobscot Village. We maintained cultural consultation with Indigenous consultant John Bear Mitchell to adhere to the accuracy of the time. The set decoration team built all the frames for the houses using plastic electrical conduit for the non-visible structure and harvested saplings for the exterior. Using plaster, the Scenic Artists moulded two different kinds of bark for the A. PENNYWISE ON THE 1908 CARNIVAL STAGE ON LOCATION. SET PHOTO. B. FROZEN PENOBSCOT RIVER ON STAGE, CINESPACE STUDIOS. SET PHOTO. Paul D. Austerberr y, Production Designer Colin Woods, Super vising Art Director Stefany Koutroumpis, Jillian Mckenzie, Art Directors Vivian Kwok, Sally Van, Thomas Inwood, Hill Wong, Assistant Art Directors Peter Bohdal, David G. Fremlin, Jon Chan, Ben Turnbull, Katy Thatcher, Set Designers Joey Beelich, Theresa Shain, Illustrators John Moran, Jeremy Gillespie, Paul Greenberg, Danielle VanHelden, Joelle Cravan, Jenny Lang, Graphic Designers Jeffrey A. Melvin, Set Decorator A B