Issue link: https://digital.copcomm.com/i/780285
This page, clockwise from top left: The balcony adjacent to the master bedroom was designed to fit the style of Seattle's Escala condominium tower featured in the books. The master suite on North Shore Stage 6 which, to accommodate budget and the limited stage space, was retrofitted to become Christian Grey's gym later in the filming schedule. Anastasia's closet and dressing room set included a screen that referenced the BDSM grating in the Red Room, and added a translucent, voyeuristic quality to her private space. The master suite entry featured a reproduction of the 1894 Madonna by Norwegian painter Edvard Munch. The set included all new finishes, an upholstered raw silk wall, connecting balcony and a new Seattle photo backdrop printed on seamless cotton utilizing the Rosco SoftDrop process. Opposite page, clockwise from top: Construction drawings for the owner's cabin aboard Christian's sailing yacht, drawn by Peter Bodnarus, along with three photographs of the finished set. 0 10 20 NSS 6 INSIDE DIM CEILING RAISED LOADING DECK NSS Stage 6 Scale: 3/16" = 1'-0" 1 CLOSET HALL BATH +6' SHOOTING DECK 4'-0" 8'-0" 18'-0" 25'-0" 23'-0" 4'-0" 140' DAY/NIGHT BACKING 187' PIPE 720 SF 370 SF 340 SF 340 SF PLINTH 90 SF 140 SF BATH DECK 1:6 Camera Ramp DECK BEDROOM HALL 580 SF Wild Access Stair Wild Camera Access R 56'-11" 14'-6" 40'-5" FOR DECK DIMS SEE DWG 01 116A-01 11'-0" 12'-6" Wild Access Stair Jeremy Stage Stage 03/02/16 PB NSS ISSUED FOR CONSTRUCTION Wed Feb 3 2016 zealous fans had been posting their own versions of set designs online as if they were indeed, from the movie. With so much press coverage related to the recent change in director, creative team and creative direction for Fifty Shades Darker and Fifty Shades Freed, I went into the meeting not knowing who held what precious from the original film. The look of the sequels definitely needed to be much darker, richer and more dangerous to reflect the thriller-like storylines, and Christian and Anastasia's worlds needed stylistic delineation. More specificity and a stronger sense of place was needed through the inclusion of as much insider Seattle details as possible into both films. Foley and I discussed wanting to make sure that the new look, though darker, more textured and more complex, would have a familiar feel. He and I both felt that the books told a Cinderella story and needed to incorporate layered romantic settings with lots of female imagery. We also were very keen to make choices of art and furniture that were more reflective of the Pacific Northwest, and to reflect the tastes and history of a young male billionaire with a troubled past. The studio planned production for both films at the same time to assure cast availability, minimize costs and maximize resources. The stories are set primarily in Seattle, so the production settled into a floor in the former