Issue link: https://digital.copcomm.com/i/1152740
S U C C E S S I O N | P E R S P E C T I V E 9 5 together, b) he had directed episodes for Game of Thrones, and I guessed he knew more about HBO's appetite for ambitious scale and what proposals would be considered exciting versus outrageous, and C) 'cause he's a really funny, lovely guy, who is ever positive and thoughtful. I just liked him right away. I also liked that he was encouraging me to do what I secretly wanted anyway, which E C. PRIVATE HOSPITAL. FLOOR PLAN. DRAFTING BY AIMEE DOMBO. D. PRIVATE HOSPITAL. 3D OVERVIEW BY AIMEE DOMBO AND ALEXIOS CHRYSIKOS. E. PRIVATE HOSPITAL. PRODUCTION STILL. F. PRIVATE HOSPITAL. 3D MODEL RENDERING BY AIMEE DOMBO AND ALEXIOS CHRYSIKOS. was to avoid doing more sets less well. Rather than scaling everything back, the design of the first floor of Logan's penthouse was kept intact, but we agreed to shoot the lobby, library and bedroom at locations. If later scripts gave them more play, we'd be ready to build if need be. By then the plan was also to build a high-end private hospital suite for episode two, as locations of this class level that could accommodate the access needed could not be found. Beyond the above sets, the biggest concern for the production was the offices of Logan's media company, Waystar/Royco. Written as being the world's fifth-largest news conglomerate, its headquarters needed to come across as immense and multifaceted, including executive offices for all the main characters, boardrooms and conference rooms, divisions for ATN News (including TV studios), parks and cruises, local newspapers, all swarming with activity, if a bit imperiled by Logan's old fashioned business models. After obligatory studies of stage builds that clearly C D F