ADG Perspective

January-February 2018

Issue link: http://digital.copcomm.com/i/916056

Contents of this Issue

Navigation

Page 105 of 123

real meat on bones (because it is something the orcs like to eat). They cleverly left most of the dressing outdoors, exposing it to the elements and collecting all of what Los Angeles leaves behind. I remember one instance where a homeless person tried to take and use a dressed-in homeless shopping cart from one of the alley sets. Being in the MacArthur/Rampart area opened up some interesting collaborations with local gang members. Some were inspired by the scenic graffiti work done by the production and tagged over it, which resulted in a much more layered and realistic look. The Art Department and scenic department worked closely with L.A.-based graffiti artist Mirage, who was recommended by the director. Not only was he a talented artist who worked well with the Art Department, he provided the level of authenticity that the director desired. The cultural identity of the Orc race was showcased throughout the film, however, the two sets that really stand out are the Vice Hall and Orc Church. The Vice Hall is everything the name implies, gambling, prostitution, drugs, food, alcohol…oh, and a religious shrine with a sacrificial chopping block! While set decoration did most of the heavy lifting with this set, every department was able to make a contribution in some way. Rigging gaffer Jason Fitzgerald, who is typically asked to hide cable runs and keep them off the set, was perplexed and excited when I asked him to string them low across the hallway spaces, integrating them with the set dressing to make it feel like the small alleys of Bangkok. Logistically, Vice Hall was a big challenge. A two-story mini-mall on Alvarado Street was taken over for almost two months, right in the middle of the hustle and bustle of the Westlake neighborhood at Seventh and Alvarado. It required moving out most of the vendors, managing the ever-curious public, A. Alternate Los Angeles street signs, elevation by graphic designer Andrew Campbell. B. Illustration by Alex Cunningham of the Orc Church with the antler tree shrine. A B

Articles in this issue

view archives of ADG Perspective - January-February 2018