Issue link: https://digital.copcomm.com/i/1470106
When starting to design the series, the titular set had me concerned. How would we be able to build a 1980s pachinko parlor, in Canada, during a shipping crisis oncern over sourcing the game consoles, and making the set feel authentic had me sleepless. Hamish and his team in multiple countries suashed those fears as they were able to source working games and set dressing that centered the design. The fixtures team spent weeks testing and modifying the consoles so that the lighting and interactive effects could be captured. The graphic teams led by the inexhaustible and talented ai Fields created an entire prize zone full of brandedlabeled goods and the set design of tienne ravrand and Austin Wang was full of '0s punch that somehow came together to be a feast for the eyes. Soo was so thrilled by the design of the set that she wrote the opening seuence of the show into the scriptsthe cast dancing down the aisles in joyous exuberance. In the set of ie's Tokyo, I wanted to capture some of the post-modernism permeating the time period, but in a high power, brutalist, astern setting. Set Designer Lindsay Ledohowski was able to develop a highly compelling and shootable set. ven though the eleven containers of set dressing that Hamish had sent from orea and apan were delayed until after this set was shot, he pulled A. SHIFFLEY'S TOKYO OFFICE. BUILT ON STAGE 1 AT SURREY STUDIO CITY. SET PHOTO. B. SHIFFLEY'S TOKYO OFFICE. SET PHOTO. C. SHIFFLEY'S TOKYO. SKETCHED PLAN AND ELEVATION. D. MOZASU'S HOUSE. BUILT ON STAGE 2 AT SURREY STUDIO CITY. PRODUCTION STILL. E. & F. MOZASU'S HOUSE. SET PHOTO. G. IKAINO WARD BACKLOT LAYOUT OPTIONS BACKLOT BUILT IN LOT AT SURREY STUDIO CITY. SET DESIGN BY ETIENNE GRAVRAND AND LISA VAN VELDEN. A B C C