Issue link: https://digital.copcomm.com/i/1438629
In terms of screen technology, it was the reverse, and motion graphics designer Tim Peel designed screen graphics that begin as slick and contemporary, and devolve into much more simplifi ed designs, once serer and satellite access disappear. The real Pentagon is massive. It has seventeen thousand miles of interconnected hallways and it was important to show runner Eli to feel both its sheer size, and the huge impact of the loss of its twentyfi e thousand male employees on the day of the eent. e wanted the set to hae a casino meetsrabbitwarren feeling, with days and nights blending and one hallway morphing into another, so designed a series of oors with geometric patterns and employed some selective set extensions that made the hallways seem infi nite, which connects back to the central idea of illusion. The eent occurs in the fi rst episode, and the production decided that we wanted to feel its aftermath throughout the season. We assumed that entagon staff would hae done what they could to get back to a semblance of normality, but blood stains are everywhere, which serves as a constant reminder of what happened, reinforcing the sense of the loss of their male predecessors. Prompted by the destruction of the Pentagon by outside forces, the government characters eventually break free of the old system and adapt to living in the new world. We destroyed the Pentagon set for those scenes with a strange feeling of ecitement. The War Room One of the series' main government sets is the war room. We wanted a set that contained the elements of a traditional war room—a place of frenetic activity, a meeting room and communication hub, and a place for the highestranking o cials to discuss the most topsecret information. e based this war room on a range of references from the fi eld o ces of the war in fghanistan to war rooms dating back to World War Two, as well as on a variety of spaces in today's Pentagon. C D E F