Hello everyone. It has been a very long time since my last post and I am excited to get back into explaining the inner workings of being the Production Designer on A Monster in the Attic!! Here we go…
Part 4, I think.
So I returned from Utah feeling accomplished and overwhelmed. Many of our locations were found, but we also had decided to build the exterior house, which meant I needed to befriend some architects and construction coordinators.
Back in Orlando I started meeting with my Art Department to discuss gathering props, set dressing, and preparing for the adventure of filming in Utah. I was also sketching ideas for the farmhouse and beginning to meet with architects who would be able to draw up the blueprints.
Some of the most intense parts of preproduction were the continual meetings I had with Phil Peters. As I mentioned before, he is one of the most integral reasons why my participation in this film was such a success. With that being stated, I also want to point out that every single time that Phil would graciously take time to meet with me I would leave those sessions either depressed from how much work I still had to do, exhausted from how much information he would unload on me, or hysterical from the amount of pressure he put on me to succeed. In hindsight it was exactly what I needed, but it also was the beginning of many anxious and sleepless nights.
The days were counting down and I was making the last preparations before the non-stop two day drive from Orlando to Kanab. Besides gathering a large portion of the Art Department in Orlando, I had to hire certain job positions from outside the state. Two incredibly important roles on any Art Dept. are the Construction Coordinator (the person who is going to build all the sets), and the Scenic Artist (the person who will take those sets and add all the important details). The two guys I found for this job were pretty amazing to say the least, but that story is for another posting…
It was the night before I left for Utah. I had been working half a year to get to this point, and I was excitedly nervous. It was the calm before the storm and I remember laying with my wife on the couch and beginning to realize that this film was actually happening. No more conceptualizing, researching, sketching, meeting, or anticipating. We had gathered enough tinder; now it was time to start a fire.