Our film rented a warehouse in Burbank, California. We built two sound stages inside the warehouse which also housed our offices. We shot in one sound stage set while another was being built at night. Then, we’d switch sound stages and begin the process again once we got all of our shots taking place in the first sound stage.
That was a brilliant decision on the part of our line producer, Graham Henderson. It meant easily checking the progress of our set workers and construction crew by just stepping outside of my office. We even temporarily redressed the art department office to become the police department in the film.
We built the mortuary interiors at our Burbank warehouse as well:
I like curved sets, as they imply more stuff is just around the curve, a “more” that you don’t have to build anywhere except in your audience’s imagination.