Issue link: https://digital.copcomm.com/i/1470106
Directors, Aaron ordan, is a gifted sculptor and was able to do multiple miniature studies and come up with the best way to display the crash on location. From there, the greens department prepped the site, building roads to travel the plane, burying the fuselage and topping trees to mimic an authentic emergency crash landing site. We went to great pains to research plane crashes for realistic destruction, patterns of debris, burn patterns and more. In addition, the incredible set decorating team, led by Victoria Soderholm, went to great lengths to locate the resources and recreate a realistic debris field. The building and execution of the crash seuence represented the culmination and cooperation of every department under the watchful eyes of the uber-talented cinematographer, . im Miles, and the director of the crash seuence, amie Travis. Along with stunt coordinator eff Aro, a truly believable and disturbing crash choreography was created. With the exception of a digital forest extension, this seuence was done with completely practical effects. While all this was going on, the Art Department was designing and building another fifteen thousand suare feet of sets on two stages Taissa's New ork brownstone, Shauna's suburban rancher and Natalie's motel interior and exterior. verything had to be ready for week one, T-minus six weeks away. Travel from the forest to the stages was 40-plus minutes, and I went through a lot of mileage in prep for the first week.. It was important to me that I conveyed a sense of each character's personality, history and backstory in each of these sets. ne theme that carried through each of the sets was the constant, preternatural presence of an unwritten character, the forest. With the two storylines running simultaneously, 1996 and present day, I never wanted the audience to the forget the forest that both captured and nurtured the teammates through their formative years, and for it to always be felt in the background. A B C A. SHAUNA'S LIVING ROOM. PRODUCTION STILL. B. SHAUNA'S KITCHEN. STAGE SET BUILT ON STAGE 5, BRIDGE STUDIOS VANCOUVER, BC. SET PHOTO BY SCHWERMAN/ SHOWTIME. C. TAISSA'S BROWNSTONE LIVING ROOM. STAGE 8 AT BRIDGE STUDIOS, VANCOUVER, BC. SET PHOTO BY MICHAEL COURTNEY/SHOWTIME. D. TAISSA'S BROWNTONE CONSTRUCTION ELEVATIONS BY HEIPO LEUNG DRAWN IN AUTOCAD.