Issue link: http://digital.copcomm.com/i/1316563
This season's action would primarily take place in Los Angeles roughly fifty years in the future. Unlike a lot of other futuristic science fiction shows, the majority of the shooting would be in practical locations, as the language of the show has never been in fully virtual environments. Thankfully, I was granted some time before preproduction to spitball ideas with co-creators Jonathan Nolan and Lisa Joy before things really got rolling. We brought on Concept Artist ictor Martinez to help create a look book of ideas for the future world. In these early meetings, we outlined that Westworld's future cities are not dystopian like Blade Runner's Los Angeles. Transportation is primarily autonomous, pedestrian spaces are elevated and include a lot of greenery, as do the building facades themselves. There is prosperitygenerally, and global warming has been mitigatedfor the most part, and a sense of order and comfort prevails. Design-wise, another advantage to this season is that each episode seemed to focus on one character. That provided a point of view to latch onto in each episode and a direction for the different environments. Set decorator Julie Ochipinti is really, in many ways, the heart and soul for the look and feel of the show. Her character-driven approach to design helped define what this show is really about. So, I sat down with her and Supervising Art Director Jon Carlos to discuss how F u t u r e F o r w a r d W E S T W O R L D : S E A S O N 3 B Y H O W A R D C U M M I N G S , P R O D U C T I O N D E S I G N E R Finally, the time had come for the show to step out of the Westworld theme park, which had always been the centerpiece of the show. A