Issue link: https://digital.copcomm.com/i/1349602
visual reference and research for everything else. The thoughtful laying out of a presentation, the chronology of ideas and logical segues is something I was used to doing by myself, but as a collaborative effort it was quite enoyable. Dean would be the showman, he would escort everyone through the various aesthetic decisions we had made. He has that rare ability common among directors of delicately handling an idea or design concept as if it were his own baby. I was quite happy to sit back and press the next slide button. The presentation went well, there was applause at the end and the only note we were left with was from Brian Robbins, the studio president, who rightfully thought we needed more space in the command module for the actors to enoy that first moment of somersaulting weightlessness. We quickly decided to put the seats on a raised mezzanine within a double height space with ample room for wire play. I'd never before had the time to put so much thought and effort into pre-prep, ust me and a trio of Illustrators working our collective asses off. By the time I headed up to Vancouver a couple days later, Art Director Catherine Ircha had multiple Set Designers working away and we had an approved vision for the look of the show that varied little in the next two and a half months that led up to the shoot. The process of designing a spaceship from the ground up has been one of the great thrills of my career so far. I've had an enduring love of science fiction my whole life and knowing that we wanted to get the technology as believable and accurate as we could fit well with my OCD. But having so many other like-minded people with experience and skill in spaceship design at that early stage ensured that the Odyssey became the elegant and believable ship that it is. As I okingly said to Brian Robbins during our presentation, what I really wanted out of the show was to have a NASA rocket scientist sitting down watching with their kid and to say, Huh… Why didn't we think of that ADG D. CONCEPT DESIGN FOR THE GARDEN. ILLUSTRATION BY BRIAN CUNNINGHAM. E. FINISHED GARDEN SET. SET PHOTO. F. THE ASTRONAUTS IN THE COMMAND MODULE. PRODUCTION STILL. Geoff Wallace, Production Designer Catherine Ircha, Art Director Peter Stratford, Sheila Millar, Mark Soparlo, Michael Sargent, Set Designers Alex Cunningham, Brian Cunningham, Ray Lai, Sunil Pant, Concept Artists Nemo Balkanski, Graphic Artist Sam Higgins, Set Decorator F E D