Issue link: https://digital.copcomm.com/i/1400113
I'd hit on quite early. The graphics team, Max Bode and Ambika Subramaniam, completed the branding package, from airport signage to ID badges, FuseFX painted the planes in post, and prop master Courtney Schmidt added amenity kits to each seat. The logo was masterfully integrated into the flight attendant uniforms by costume designer Cat Thomas. But getting the set together was another hurdle. Talking with some favorite US suppliers left the Art Department at a loss for critical elements. Most seating pods were rented out or needed significant refurbishing. Galleys were plant-on facades that couldn't support the required action. Perusing airplane graveyards didn't give us much hope either. Following much internet sleuthing, Christine Foley hit upon ShootAviation, a UK company that seemed to have all the right stuff. After confirming the financial viability, I hopped a plane to check out the units in person. Thankfully, they had enough elements to build on, resulting in a glamorous avian Frankenstein. The production wanted a wide-body international long-haul plane like the Airbus A350 for the prestige it afforded and the camera space. ShootAviation's system included a base, sidewalls, integrated lighting, ceiling panels and overhead bins that could lock together in rolling sections. It allowed us to quickly pull apart the plane two-meters at a time if needed. The galley had been cut from the fuselage of a smaller, single-aisle aircraft like a 737. It was crated and shipped from the UK to the lot, where it nearly got stuck in the drive. Wider than the gate to the building, line producer Ray Quinlan jumped in, convincing neighboring property owners to cut down their fence so the crew could land it on stage. It was worth it—along with all the working kitchen elements, we had integrated door hatches, jumpseats, closets and supply areas intact. Unfortunately, it was about six feet slimmer and two feet shorter than the wide-body main cabin. Assistant Art Director Josh Smith worked with me to hide the joint between the two aircrafts, drafting up swooping bathroom walls and a help- D. VIEW OF BANGKOK FROM THE MAKARA PRINCE SUITE. PHOTO BY SPENCER LASKY. E. DINING ROOM OF MAKARA PRINCE SHOWCASING THE HAND- CRAFTED PANELS. PHOTO BY SPENCER LASKY. F. LOGO SKETCH FOR IMPERIAL ATLANTIC. PENCIL AND MARKER DRAWING BY SARA K WHITE. G. PLANE PAINT SCHEME, APPLIED IN POST BY FUSEFX. H. SKETCHUP MODEL OF IMPERIAL AIRLINES' AMENITIES BAR BY JOSH SMITH. I. FINAL AMENITIES BAR INSTALLATION. PHOTO BY SPENCER LASKY. F G H I