Issue link: http://digital.copcomm.com/i/1260764
Barry: Yep, you're talking about the chains cars. Tom: I remember the difficulty we had trying to get the producers' and directors' heads (collectively) around your idea of the chains. Basically, as the food and supplies are used up on the 10-mile-long train, the supply cars are left empty, which allowed for the young and artsy types to camp out and make the container cars into their own ghetto/art colony with living quarters and marketing space. Barry: Man, that was a tough sell. We built models, had renderings done and finally, we made a full- scale mock-up. Finally, it was sold, and we had a young set decorator to dress out the interiors as they all had to be made of found and recycled objects. It turned out to be a very mysterious space which the directors finally embraced. y the way, this is where I broke the rules in height…just by a fraction… Tom: Right, the other place was the nightcar? Barry: Nightcar is right, sort of a Vegas recreation space that had to be flexible enough for lots of activities. The base of the nightcar set was within the dimensions, however, we created alcoves so that the space could expand and contract. It was always my intention to stay within the bounds set by the train vernacular. It also served as a pivotal car at the change from second class to first class and it held the private rooms where people went to have an altered reality experience. Tom: Yes, the private room was fun to pull off because it was captured all in-camera through projecting moving images on three walls and the ceiling of a room made of projection material. Barry: ery important also as it offers the audience some relief from the four walls of the train by showing locations outside from the user's fantasy request. Tom: Now entering second class, everything was upgraded a bit and we find a nicer hallway and Jinju's quarters, as well as the drawers car. E. AQUARIUM. SET PHOTO. F. JINJU'S QUARTERS AND HALLWAY. SET PHOTO. G. THE PRIVATE ROOM. SET PHOTO. H. THE DRAWERS. SET PHOTO. E F G H