Issue link: https://digital.copcomm.com/i/1400113
addition, the propaganda video that Loki is made to watch in this set had a very specifi c look. Working with Illustrator Joe Studzinski, we made key frames for the animators to reference. We were heavily inspired by a '50s instructional cartoon made by the USAF called Man and Safety, which had an unexpected whimsical quality despite the serious nature of the content. This was really exciting as we were trying to create this paradox of a seemingly sweet character espousing ominous propaganda and threatening messages. Time Theater As I read it, the call for the Time Theater was to decimate the variant being interrogated by the scale and severity of the space. Loki refers to it as a "killing me, sort of room." To build this feeling, a massive concrete superstructure was used, inspired by the architecture of Luigi Nervi and Paul Rudolph. And that was collided again with modern architectural infl uences from the late '60s, including a huge and colorful super graphic indicating with unnecessary scale the room number. Art Director Domenic Silvestri worked A with the talented plaster team led by Ernest Lopez to create a completely board formed concrete superstructure. The only other materials were black granite and the vast fi eld of "TVA orange" glazed tiles, generated by the hundreds by the brilliant staff shop. Ostentatiously, there are the huge, mysterious, monolithic orange doors to break up the expanse of concrete. The austerity of the room called for some very bespoke objects to be the "jewel" of interest in the center. The only set dressing was a Saarinen table, two Bertoia chairs and the bizarre TVA interrogation tech: the holoprojector and remote. Working with Illustrator Shae Shatz, we created many iterations of these two pieces intended to be the hallmarks of the strange high-tech analog equipment at the core of TVA operations. We presupposed digital technology simply never came to pass and that in the TVA, analog tech just got more and more sophisticated and cross-pollinated with diff erent alien and aberrant technologies plucked from assorted renegade timelines. My mandate was to avoid cyan light at all costs. That trope of science fi ction seemed at odds with the tactile and lived-in world we were trying to build. At more than thirty-two feet in length with practically spinning spools of 35mm fi lm and A. MISS MINUTES ILLUSTRATION BY JOSH VIERS. B. TIME THEATER. ILLUSTRATION BY JOSH VIERS. C. TIME THEATER. SET PHOTO. D. HOLOPROJECTOR. ILLUSTRATION BY SHAE SHATZ. E. HOLOPROJECTOR. SET PHOTO. B C D E