Issue link: http://digital.copcomm.com/i/990311
8 2 P E R S P E C T I V E | J U L Y / A U G U S T 2 0 1 8 too futuristic. Many films were referenced, but the budget was overwhelmingly small compared to most. After a serious rethink, I convinced the producers and director to keep the film set in the present, but make the props both a little more futuristic and retro in style. I know that sounds contradictory, but it really worked well, not only for budget, but it created a visceral and interesting style for the film. Fortunately, the director loved this concept and made things even easier by setting the film in Puerto Rico, where it was being shot. There were two laboratories where the main character Will Foster worked as a scientist. One was an experimental lab, where tests for cloning were performed, the other, the hi-tech robotics lab of the Bionyne Corporation. The first was created in a defunct pharmaceutical laboratory, which really produced more problems than solutions. All the counters and large machines in the lab were permanent fixtures, making it hard to photograph. However, once cool lighting, lab equipment, piping and a variety of experimental tanks and pods were added, the place provided value for money. Low industrial ceilings were also used to great benefit. The robotics lab needed to be logistically near the studio to save costs. A telecom office was found next door, but it had wall-to-wall carpet. After the carpet was ripped up, the surface beneath was made up of large square steel tiles. This gave the room a very slick, almost spaceship-like floor. The exterior used for the Bionyne Corporation was a very modern concrete theater, and elements of the concrete wall panels were brought into the space. Fake steel columns were added, filled with A B A. BASEMENT LABORATORY, CONCEPT ILLUSTRATION BY JOSE VEGA. B. SET PHOTO OF KEANU REEVES IN WILLIAM FOSTER'S MAKESHIFT BASEMENT LABORATORY.