in some spaces or making them overshadow their
surroundings in others. It is fun to play with scale
as the production goes merrily along, by using the
aesthetics of the environments to mirror the shift
in power.
In defi ning the environments, it is Benny's
character arc that was the most noticeable. As this
night unfolded, he was learning life's lessons, and
dramatically changed as a result. He grew in stature
through the fi lm. His background colours became
more ebullient, the lighting became brighter as he
travelled closer to hero status. The desolation of the
desert sets contrasting with his fi erce desire to save
his loved ones. This is where he most shone in the
narrative.
Zoe is one of the passengers that Benny drives
on this fateful night, and seems more at home
in the older, classical styles of architecture .This
A. VICTOR'S HOUSE.
ILLUSTRATION BY
JONATHAN MCGONNELL.
SET BUILT ON STAGE IN
NEW ORLEANS.
B. VICTOR'S HOUSE,
WINDOW MURAL BY
ALEXANDER STOLIN.
C. VICTOR'S HOUSE.
PRODUCTION SITLL BY DP
EBEN BOLTER.
A
B
C
