Issue link: http://digital.copcomm.com/i/765720
THE GRAND CONCOURSE BAR by Scott Herbertson, Set Designer Aesthetically, the set was to be evocative of the Overlook Bar from The Shining. Strong art deco lines and shapes were used to establish an extravagant yet lonely, somewhat lifeless environment in which key scenes could unfold. Multiple opportunities for direct and indirect light sources were designed into the set creating a jewel box effect. The challenge was to blend classic art deco elements with a sprinkle of futuristic fantasy. My favorite part of the set is, of course, the bar and back bar. This is the world of Arthur the sentient robot bartender. Within the back bar are elements that allude to the tree that is seen at the end of the movie. The real fun for me on these kinds of projects is working with the Production Designer to set up possible angles and shots within the set that move the story forward. Opposite page, top: The partially dressed Grand Concourse set was built across two stages and needed to convey huge scale. The curvaceous shopping mall was designed to remind one of oceangoing cruise ships. The set included a 360-degree ground level and a partial second level to accommodate lower angle shots. Bottom, left: Jim and Aurora survey the digitally extended Grand Concourse, five levels of retail and entertainment with a vast glass canopy to outer space. The shear scale of the environments heightened their sense of isolation. Center: Trey Shaffer and Kevin Kalaba designed a complex corporate identity for the ship's company, Homestead. Meticulous detail, including multiple languages for general signage, helped convey the scale and international nature of the voyage. Above: The relationship between Jim and Arthur, the robotic barman (played by Michael Sheen), echoes a similar relationship between Jack Nicholson and the barman in THE SHINING. Below, left to right: Gene Serdena's dressing behind the bar was an array of carefully picked bottles and colors. The alabaster was chosen to backlight the liquids and give a warm glowing light quality. The bar's walls were decorated with a bas relief design of the Avalon's voyage, designed by Karen Teneyck. Frank Lloyd Wright-inspired ceramic tiles line the bar's entryway. The intricate design is actually a stylized front elevation of the Avalon, and certain tiles are punched through and backed in sheet alabaster with internal lighting.