Issue link: https://digital.copcomm.com/i/747534
These words also describe the making of this movie, shooting in Thailand during a monsoon, arriving on the main set to find it washed away under twelve feet of water, filming on two continents with a thirteen-hour time difference, scouting by helicopter, speedboat and Thai river raft, and—for me, the highest point of all—getting to bottle feed a tiger cub. Agent Pete Franciosa at UTA phoned to say, "The Englishwoman gets to design a pawn shop in 1980s' Reno." It is fair to say that this movie was a departure from the kind of films I normally do. My work on the whole is very British/European and mostly period. I loved doing something that spoke a completely different language. After reading the script, and loving it, I did a Skype interview with director Steve Gaghan. It was a dark wet evening where I was in London and a beautiful California morning at Steve's end. He offered me the job right away, during that Skype. I learned that he had been on a flight, sitting next to Graham Moore, who had written The Imitation Game which I had designed, and who had suggested that Steve should contact me. Teddy Schwarzman was also a producer on both movies. I started delving into the world of Gold—steamy Indonesian jungles and 1980s' Reno—while I was still working in Boston during the Right: Ms. Djurkovic's pencil sketch of the gold mine site. Below: A SketchUp ® drawing for the main tent at the mine, drawn by Assistant Art Director Pisit Udomwongthanawat. Bottom, left and right: The second version of this set had to be a very good match for the one destroyed by the fl ood since some of that earlier footage would still be used. In fact, red earth was imported to the fi rst site for aesthetic reasons, and was actually there at the second.