Issue link: https://digital.copcomm.com/i/1349602
T H E S T A N D | P E R S P E C T I V E 8 7 When I first met with show creators Ben Cavell and Josh Boone and producer Will Weiske in January of 01 to discuss The Stand, Stephen ing's epic tale of good versus evil, I never could have imagined where that ourney would lead us. After a grueling 10-day shoot in Canada, we were finally nearing the finish line, but with ust a few days of location work left in Las Vegas to wrap it all up, we all suddenly awoke to the reality of COVID-1. The virus had been slowly spreading and was now on our doorstep. Production decided it was no longer safe for us to continue. nbelievably, the last days of a story set during a deadly global pandemic were suddenly being brought to a halt by a deadly global pandemic. But The Stand isn't a novel about a virus, it is about the human struggle between the power of community, cooperation and goodness, and the pull of the dark side, of revenge and temptation. The unabridged novel is over one thousand pages long and filled with detail on top of detail. How would the series begin to tackle this volume of material and not only respect but hopefully enhance what many argue is ing's most popular work Our strategy from day one was two pronged; to try to build a world that was simple, prosaic and beautiful, and pair that with the extreme, the dangerous and the unexpected. I took inspiration from the loneliness and poetry of the photographs of Gregory Crewdson and the most hedonistic imagery from Las Vegas. The scope and diversity of the settings in the book were daunting as the production set out to budget and plan the shoot. Not only would there need to be some quite large stage builds, but the show would need to find believable facsimiles of at least a dozen S states. After considering a number of production-friendly options in the S and Canada, we decided that British Columbia would give us the most bang for the buck and offer the most variety of environments. A. THE INFERNO CASINO, BUILT ON LOCATION AT THE "PINK PALACE" OVER A PERIOD OF THREE MONTHS IN SURRY, BC. BECAUSE OF THE NATURE OF THIS UNIQUE LOCATION, MULTIPLE SETS COULD BE COMBINED AND SHOT CONTINUOUSLY FROM THE BASEMENT LEVEL TO THE FIFTH FLOOR. B. THIS GRAPHIC WAS CREATED AS A WAY TO CONNECT RANDALL FLAGG TO THE LARGER STEPHEN KING UNIVERSE AS A VARIATION ON THE "EYE OF THE CRIMSON KING." DESIGNED BY AARON HAYE. B