Issue link: http://digital.copcomm.com/i/1260764
Barry: Yes, here the fi nishes are much warmer and softer. inju's uarters had to refl ect her esteemed level as an important scientist and the keeper of the very important auarium car, in fi rst class, where she served the delicacy of sushi and also traded in gossip. That was a fun set to design. We used an expanding interior architectural paper product as the walls which was internally lit against backlight amber stone details. Tom: The drawers car was one that exacted quite a toll, didn't it? Barry: Yes, it did but in the end, we pulled off a very clean, medical grade set that created an environment that a creepy doctor did very weird things in and once again was critical to plot development. C Tom: That brings us to fi rst class, where we fi nd the aquarium car, as well as the radio room with the fi rst-class corridor and the Folger's car and an example of a fi rst-class compartment. Also, the fi rst-class dining car. Barry: These cars had to refl ect the extreme wealth that a passenger needed to gain access to the train at the end of the planet's livability. So, I strove for as high end a look as was possible in both the fi rst- class dining and the Folger's car while still staying within the width constraints, but the length did grow a bit as did the height. Contrast with the life of the Tailies and the other lower classes had to be as extreme as possible to make the script action seem inevitable. The radio room is where Jennifer Connelly (Melanie), head of hospitality, makes her announcements and manages the train. The radio room is a good example of a design concept that ran throughout the train, which was an intentional mixing of old and new technologies. As the owner of the train, the mysterious Mr. Wilford had originally created his train as a throwback luxury train liner. The hallway outside the radio room introduced the fi rst-class level stark white and copper treatment. Tom: That brings us to the end of the train. But the end is the beginning, which is the Engine Eternal, and Melanie's quarters. Barry: The engine was a tough challenge. When I arrived, the shell was existing. I poured over the existing plans and realized that it was less train engine and more spacecraft. I wanted to use the same design ethos that I had used throughout A B A. NIGHTCAR. CONCEPT ART BY EV SHIPARD. B. NIGHTCAR. SET PHOTO. C. FIRST-CLASS CORRIDOR. SET PHOTO. D. TRAIN CAR LAYOUT- FRONT. E. FIRST-CLASS DINING CAR. SET PHOTO. F. INTERIOR ARK DOOR. SET PHOTO. G. ENGINE COCKPIT. SET PHOTO. H. EXT. OF ENGINE COCKPIT. SET PHOTO. D