ADG Perspective

March-April 2020

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When Noah Hawley asked me to do Lucy in the Sky, I was very excited. He wanted to do a movie about a woman who had an experience that was bigger than her understanding and has come back to a world that's smaller than she remembers. A movie about change and transformation after a journey to space. Lucy begins the film in space, an emotional point of view of space, not the technical aspect—the feeling of impermanence and the scale that dwarfs her. Noah was very clear that he needed a canvas for Lucy that expressed her emotional state. So everything from the color palette, to the details in the houses, ASA, the oces and training facilities, gardens and streets, was guided by the emotions that Lucy was going through. NASA The story takes place in the year 2006, so the International Space Station was designed for that period, less sleek, a messy arrangement of equipment from dierent eras that overlap. I wanted to have a 1980s base shell with layers of decades in technology, massive bundles of cables and wires, but controlling the color palette of shades of whites and grays. A few scenes inside the International Space Station, or ISS, were cut out from the final movie. The final film only has a dream sequence where it was cleaned up and Lucy, played by Natalie Portman, was hung from one side of the station in a translucent sleeping bag, as if she was about to transform like a chrysalis. The practical aspect of the ISS was very challenging, it had to be built in the same hangar where the NASA training facility was being shot, so the solution was to build the interior as the ISS in space, and the exterior of the same set as the ISS instruction module that NASA used to have at the ouston training center over fifteen years ago, a B A. INTERNATIONAL SPACE STATION SET WITH NATALIE PORTMAN AS LUCY IN HER COCOON SLEEPING BAG. PRODUCTION STILL. B. ISS SET. SET PHOTO.

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