Issue link: https://digital.copcomm.com/i/1438629
There is a performative element about modern politics, and in the Y world, a group of women are performing the roles of their male predecessors, so it seemed fitting for their enironment to feel like the stage where the performance of politics could play out. Our government story unfolds in the round, with a central, sunken pit featuring a conference table surrounded by various workstations. The pit is encircled by an elevated gallery on two sides (which allows for different antage points and sightlines for both the characters and the camera), and is punctuated by a massive wall of screens on one end that bathe the room in light, and a gladiator tunnellike entrance on the other. A massive, illuminated plexiglass ceiling dominates the war room and is visible in almost every shot. The large map and walls of information on either side of the room hae a glossy finish, and often reect the gridded lighting from the ceiling and glow from the monitor screens in the room. All this reminds the audience that we are in the presence of power. I also wanted to highlight the Pentagon's lack of privacy: All our characters are on edge and suspicions are high. President Jennifer Brown is attempting to get the government back on its feet, but a slew of ulterior motives make trust a big issue. Everyone is exposed and vulnerable, so some of the hallways are made of highly polished and reectie marble, so the characters can neer really trust that they're alone, even when they think they are. A. & B. WAR ROOM. ILLUSTRATIONS BY ANDY LO USING SKETCHUP AND ENSCAPE. C. & D. WAR ROOM. PRODUCTION STILLS. E. PENTAGON SLEEPING QUARTERS. BUILT ON A SOUND STAGE IN MISSISSAUGA, ONTARIO. PRODUCTION STILL. F. THE PENTAGON BULLPEN DORMS. PRODUCTION STILL. A B C D E F