Issue link: http://digital.copcomm.com/i/1512164
F O E | P E R S P E C T I V E 1 0 9 Filmed in Australia in the middle of the pandemic, Foe was a journey to the end of the world. It turned out to be quite a fun adventure and most importantly, a beautiful project. Written by Canadian author Iain Reid and scripted by Garth Davis and Reid, the story is set on a remote farm in a not-so-distant future. What used to be prime agricultural land has now long gone due to climate change. Foe examines the nature of a married couple played by Saoirse Ronan (Hen) and Paul Mescal (Junior). As their lives are put in turmoil, they receive a visit from a government space agency employee, played by Aaron Pierre (Terrance). It's a story about relationships, isolation and self-determination. Like all great science fiction, the story is about the human experience, and its goal is to have us reflect on how we live with each other and sometimes take things that we love for granted. The science fiction aspect of the story mostly plays in the background, but it still needed to be visually effective. To do so, the production first needed to determine how the house they live and where most of the story takes place would mirror the stagnant relationship of the protagonists as the world changes or collapses around them. Therefore, it was important to anchor the rural design in familiar settings. Besides some very random contemporary elements, the audience could almost believe they are watching a period film. There is very little technology present. Futuristic elements are subtle and introduced through the character of Terrance. He represents the source of change. Junior's character lives in a world that has long gone. He refuses to accept change, and the nature of his relationship with Hen has been based on this status quo. The house would need to reflect that and showcase the backstory of past generations who have inhabited it. Failure to change, reset or adapt will only lead toward decay and extinction. During our preliminary discussions about the project, Garth and I both had in mind the A. JUNIOR'S FARM WITH APPROACHING DUST STORM. ILLUSTRATION BY DEAK FERRAND. PHOTOSHOP PAINT-OVER, FROM SKETCHUP. B. JUNIOR'S FARMHOUSE. SET PHOTO BY ELISE LOCKWOOD. C. CHRISTINA'S WORLD BY ANDREW WYETH. B C