Issue link: https://digital.copcomm.com/i/747534
60 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 6 Top: Ms. Djurkovic's pencil sketch of the Singing Bird Village set built at an old elephant camp near Surat Thani. Above: Two rendered SketchUp views of the village's longhouse, drawn by Mr. Udomwongthanawat. Right: The fi nished longhouse set. who worked in tandem with a wonderful Thai Art Director, Lek Chayan Chunsuttiwat. At a later date, out of necessity, I was allowed a UK set decorator, Sophie Phillips. Part 1 – THAILAND I crisscrossed Thailand before settling on the main location bases, Surat Thani in the south and Bangkok. I am sure that the readership of this publication will understand that I was constantly having to remind everyone that the exoticness and foreignness of Thailand was NOT Indonesia and similarly that re- creating the 1980s, a decade within most of our living memories, was possibly even more challenging than re-creating a set from a different century. It was most certainly not just about changing cars and technology. It became extremely boring to constantly have to say, "That is wrong for the period," and frustrating for me that locations that were perfect for the period were often seen as ugly. Costume designer Danny Glicker and I made everyone embrace the ugliness of that decade. Working with Danny is an absolute joy, he is extraordinarily collaborative and we shared a mission not only to create a world that no longer exists, but make it feel effortless and unlabored. Together, we tried not to fall into