Issue link: http://digital.copcomm.com/i/1316563
To build our future LA, the production basically went around the world. My work abroad with the crews in Singapore and Spain was really a night and day experience. They had such divergent approaches to the work, all eually valid. I just had to fi gure out the best way to fold into them to get the design work accomplished. The Singapore crew, headed up by Art Director Leslie Ewe, was intensely communicative and wanted feedback on as much as possible, keeping at something until it was right. We were shooting in some spectacular buildings, both public and private. To get into these properties, the crew had to set up and dress the night before the shoot and wrap immediately after, with three units often shooting at the same time, uite grueling for any crew. They never let me down. F MAEVE + WARWORLD The Spain crew, headed up by Art Director Alejandro Fernandez, helped to develop environments for WarWorld, a never-before-seen Delos Park that Maeve and Lee found themselves in this season. The historic town of Besalu, Spain, was targeted for these scenes. Again with very little preproduction time, the Spaniards layered on the period detail, fortunately with the guidance of very detailed concept art that Manuel Plank-Jorge had created based on location photos. To complete the scenes for this new park, locations in LA and some built stage sets were also shot. I was very excited to be able to use a functioning WWII plane from the Palm Springs Air Museum that was fl own into a small airfi eld near Santa Clarita to shoot the fi nal WarWorld seuence. MONTY'S LAST STAND Ext. Town Square, War World v1 F D. WARWORLD TOWN SQUARE, CONCEPT ILLUSTRATION BY MANUEL PLANK-JORGE DONE IN PHOTOSHOP. E. WARWORLD AIRFIELD SHOT ON LOCATION IN SANTA CLARITA, SHOWCASING THE WWII PLANE BORROWED FROM THE PALM SPRINGS AIR MUSEUM. PRODUCTION STILL. F. HAND-DRAFTED CONSTRUCTION DRAWING OF THE WARWORLD AIRFIELD TOWER BY SET DESIGNER ANDY HULL. D E HBO