ADG Perspective

January-February 2018

Issue link:

Contents of this Issue


Page 67 of 123

With the practicalities of shooting interiors of train carriages sorted, we turned to our main aim of visually broadening the confines of the original narrative. Ken had been working more with the screenwriter Michael Green, and together, they had this notion of taking the audience on an opulent and epic journey. With opening scenes in Jerusalem, Jaffa, Istanbul and its main train station, the story was off to a great start. Additionally, it was decided that once the train had been hit by storm and avalanche on the night of the murder, dawn would break to reveal a further predicament, the locomotive is derailed and the carriages are stranded on a huge old wooden viaduct, with a precipitous drop on one side and a frozen mountain ledge on the other. This would also be built on the backlot. Despite extensive collaboration with George Murphy and his visual effects team, this was still going to be one big set, comprising a 500-foot long viaduct and mountainside some 50-feet high, with rail track, derailed locomotive and full-size carriages, an entrance to a tunnel, and an ice cap below. The practicalities of staying on schedule, shooting with a mega-star cast within a limited time frame on a 50-foot high exterior backlot set in January in the UK were challenging, but thanks to the steady nerves of our director and his producer, and the dedication of our cast and crew, filming was smooth, we completed principal photography on time, and all the drama was on the screen. I hope the results are as thrilling as we intended. ADG A. Concept sketch for Stamboul Station, done in Photoshop by Luigi Marchione. B. Set built on stage of the Stamboul Station. Photo by Nicola Dove C. Stage plan for Stamboul Station by Andrew Ackland-Snow. D. Plan and elevations for the backlot build of the viaduct, drawn in Vectorworks by Emma Clough. E. Set photo of the viaduct under construction. F. Set photo of train carriages on the viaduct. Jim Clay, Production Designer Dominic Masters, Supervising Art Director Andrew Ackland-Snow, Phil Harvey, Jordana Finkel, Will Coubrough, Art Directors Emma Clough, Quinn Robinson, Assistant Art Directors Dan Clay, Paul Savulescu, Draughtspersons Olivia Watkins, Laura Barden, Cassandra Virdee, Junior Draughtspersons Luigi Marchione, Randolph Watson, Concept Artists Alicia Grace Martin, Lead Graphic Designer Rebecca Alleway, Caroline Smith, Set Decorators A B C

Articles in this issue

view archives of ADG Perspective - January-February 2018