Issue link: https://digital.copcomm.com/i/747534
62 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 hour time difference, I had to wake up twice each night to check on sets via email. I flew back from Thailand via Los Angeles and the sheer excitement of having prop houses and choices banished any sign of exhaustion and jet lag. Part 2 – NEW MEXICO So easy and straightforward and fun, no struggles. Peter Rogness as Supervising Art Director and Carla Curry as set decorator. There were lots of locations to deal with and the prospectors' hotel suite to build. That was quite a tricky set to design because the structure of the story meant that Steve did not want to reveal the space until the end. He wanted the audience not to recognise where we were at the start. We also shot the tiger sequence there and a couple of additional scenes that took place in the main tent in Thailand that were never completed. It and all its contents were shipped to Albuquerque, rebuilt in a parking lot and surrounded by giant blue screens. Right: Ms. Djurkovic's pencil sketch of the prospectors' Reno hotel suite, built in a warehouse in Albuquerque. Below: Two photographs of the fi nished set. Bottom: The suite's bedroom pencil sketch by Ms. Djurkovic.