Issue link: https://digital.copcomm.com/i/974985
transition in real time from one level to the next. One of those "white cyc" spaces that provide a place to play a small abstracted radio show was also needed. While that all seemed relatively achievable, the structure was still filled with old scenery and the only available plans looked as though they were drawn decades earlier. With little more than a laser, a few tape measures and some blind faith, the Art Department charged ahead and assured the team that we'd be able to deliver the set as scripted. I suppose that sounds rather straightforward. After all, it's simply an interior set inside of an existing building that's designed to look like a home…but yeah, that unicorn thing again. It needed to accommodate not only the actors but also room for lighting, audio/playback and at least four camera operators with their cable wranglers, all of whom had to disappear in an instant. Glass panes were pulled out of windows and traps cut in walls and masked with set dressing. Whole kitchen cabinets were made hollow so that people could walk behind them. In one instance, a trapdoor was added to a wall so that everyone could come and go and it could still be shot. And don't forget the kitchen walls also swung up to reveal that little radio show! One of the more iconic moments from the film centers on the patriarch of the Parker family and his "major award," a mannequin leg turned lamp. How can one do a musical and not turn that into a dance number? The song starts outside on the street looking into the Parker's home while the leg F. CAST MEMBERS ANDY WALKEN, MAYA RUDOLPH, CHRIS DIAMANTOPOULOS AND TYLER WLADIS. PHOTO BY RAY MICKSHAW/FOX. C D E F