Photo 2: These were the only two images we received as reference for the inn, neither showing the actual interior we would film in. But I pulled from both drawings to create the final set.
Photos 5-7: The next step was to take the 3D model and print gridded floor plans and elevations from sections of it. This allowed my carpenters to replicate the model in full size without massive amounts of blueprints. Each square of the grid above equals one foot.
Photo 8: The basic structure of the inn was assembled from existing 10'x12' flats that I traded my friend Doug at 41 Sets for. It was a good deal, as that amount of walls can cost tens of thousands of dollars. We made the ponywall flats separately, and covered them in multiple layers of styrofoam sheet insulation, which was carved to look like stacked field stone.
Photo 9: The fireplace was built in 4 sections: the hearth, the firebox, the mantle, and the chimney. They were all wood structures skinned with foam. The hearth was capped with 3/4' ply, since I was sure a stunt person would jump on it during the scene. I felt it was better safe than sorry! The fireplace was built at the BarnYard and trucked to the stage in pieces.
Photo 10: When all the walls were up, a temporary version of the back loft was erected to make sure that the proportions worked for the shots planned before diving into the expense of building the final, structural loft.
Photo 11: We started working alternate shifts, do more construction at night, so Felicia and the gang could come in and figure out how to utilize the space. Here, director Peter Winther works on the choreography with Tallis and Cairn.
Photo 12: As the sets were being built on stage in downtown LA, the weapons, props, and makeup FX were moving along at the BarnYard. I was constantly running back and forth between both, and when I couldn't be at one, photos were taken to communicate. Here, Stunt Coordinator Thom Williams demonstrates his idea of how the Templar sword should be sheathed. Notice that lead stuntman Tim Eulich is holding a fiberglass stunt copy of sword.
Photo 14: Nyree (Marcia Battise) can't take the waiting and decides to choke someone!
Photo 15: The stunt team left, and it was time to get back to work. Oh, I remember these late nights!!! I wanted the walls to have a muddy, stucco look, so thinned down joint compound was randomly, and roughly, slapped up on the walls.
Photo 16: Then it was time for everything to get a base coat. The stone all went medium warm grey, and the walls a pale beige.
Photo 17: We didn't have enough tall ladders, so sometimes people did both steps of wall treatment as high as they could go, and then the rest would get done as the ladders became available! Here, Jason Swearingen does his best to reach the 8' mark!
Photo 23: It took several nights to scenic the inn, and by the end of each I looked like I had severe frost bite!
Photo 24: Even Red 5 couldn't escape getting covered in paint. Here, she takes a momentary break from painting under the second loft, which hung over the bar. Red sits on a stack of barrels, which are placed exactly were they were in the CG concept model!
Photo 25: We finally finished painting, and then the fun part started: Dressing the set! All the fancy construction in the world won't help a set if it isn't dressed properly. The items in a room are as informative, if not more so, than the architecture itself. If you compare this photo with photo 20, you can see how much more alive the fireplace seems with the addition of candles, fire irons, and trophies. One glance and you instantly understand that you are in a huntsman's lodge.
Photo 26: Across from the fireplace, I tried to add a "homey" touch by adding shelves of earthware behind the bar.
Photo 27: Chandeliers were hung from the warehouse's real rafters, and sections of thatched roof were added onto the back and side walls so the camera could look higher and wider. The thatch is actually fallen palm fronds from the trees in my yard!
Photo 28: Can't say Art Department Coordinator Pooja Sharma was as excited about the hay as I was, especially after she shoveled hundreds of pounds of it across the floor.
Photo 29: Here is what the inn looked like from up in the back loft. You can see the fake rafter I put through the middle of the set. It's actually a hollow "U" of luan suspened with rope from the building's real rafters. And look how far two bales of hay stretch!
Photo 30: It did indeed get everywhere, though. Art Director Bryan Fulk found out pretty quick how easily hay gets into your shoes. Armorer Mazin Dazani thought it was pretty funny...wait! Mazin! What are you doing on the set! There are soooo many weapons to get ready for this scene!!!