The shoot was scheduled for two days and used most of them. The location – a house built in 1962 and largely unchanged since – was chosen for its light, which turned out to be reliable for about ninety minutes a day and unusable the rest of the time.
That constraint shaped everything. The team worked in short, concentrated bursts and spent the intervening hours changing setups for a window they could not control.
The cover itself was made in the last twenty minutes of the second day, after the schedule had officially ended, in a hallway nobody had considered using.
It is the frame everyone in the room recognized immediately, which is how these things usually go and never stops being surprising.
