ADG Perspective

July-August 2018

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Page 97 of 111

Arriving at the Fox lot for my first day of work on The Orville, I met up with Tony Lattanzio (construction coordinator) and Howard Griffith (producer) to look at Stage 15. It housed the huge two-story American Horror Story set that was coming down for ours to go up, but it sparked a vision of a massive two-story ship in which one could move in real time from place to place with a flying bridge. It also was a green opportunity to reuse the second-story deck already in place. I worked with Kit Stølen (concept artist) to start laying out shapes, spaces and ideas for the interior set. Our approach was smooth sweeping curves, graphic symmetry throughout, organic feeling wall textures with warm colors contrasted by silvers and cool-blue lights recessed in the sets and corridors. As with the epic viewing screen on the bridge, large windows throughout the ship open up to the cosmic landscape in a bold way. Three hundred linear feet of interconnected filmable corridors lead to all the sets on the ship, enabling the characters to travel throughout in real time and provide for dynamic walk-and-talks of any length. Other design features on the ship include the large central spiral staircase that leads up to the bridge and briefing room, as well as the captain's office. Ed's and Kelly's quarters (a single set redressed for each character) feature a similar version of the staircase where you ascend to the bedroom. The crew quarters have a living room and a bedroom on the same level with large windows repeated. All quarters have a food synthesizer, no cooking required in 2418. Engineering is another large set located on Stage 15 that has a quantum drive on one end rising two stories with a practical lighting affect. Filling out the lower level is our sickbay complex with a private office, a lab that can also be transformed into a brig and a large semicircular mess hall. The mess hall has a large section of curved windows that look out the back of the ship into space, and at the impressive B A. THE SECOND- STORY BRIDGE UNDER CONSTRUCTION. B. SET PHOTO OF THE FINISHED BRIDGE WITH ANIMATED VIEW SCREENS AND LED LIGHTING. C. STAGE PLAN SHOWING THE UPPER LEVEL OF THE BRIDGE, CORRIDORS AND ENGINE ROOM, DRAWN BY SET DESIGNER EUGENE ADAMOV. D. THE TWO-LEVEL ORVILLE SET UNDER CONSTRUCTION. A C D

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