Issue link: https://digital.copcomm.com/i/1470106
follow her down multiple streets of the Ikaino Ward backlot build in B where she finally enters from the backlot into oseb's house. This seuence was emblematic of the rigorous planning needed and the desire for all involved to give as much scope as possible to the show. The backlot Ikaino Ward set was co-designed by tienne ravrand and Lisa van Velden. It had to function for a variety of purposes and place settings. We had to map out long walk and talks that often had to connect to locations and sets in orea, and most importantly, it had to anchor the home of oseb, where Sunja comes to live in saka in the 1920s. apturing the essence of the orean slum surrounded by industrial Tokyo, we wanted to feel cut off from the natural world as a major environmental punch to Sunja after leaving the abundance of natural beauty in orea. The set has to display vernacular apanese architecture but also has the subtle influence of orean construction practices as it was built and inhabited by ainichi. (Foreigners or oreans living in apan.) The team of scenics, led by D'Arcy urchuk, were able to inject a textural history on this set that had great impact on screen. "No one is clean. Living makes you dirty." –Min Jin Lee, Pachinko Though it was not a total build, there is no other set in the show that received the amount of attention and conversation as the Bupyeong Fish Market. Set in the 1910s and 1920s, it was described as a thriving Busan market located on the coast overlooking the island of eongdo. We scoured orea looking for a place to shoot the market but the irony of telling the story of the apanese occupation of orea, is that not much of the architecture exists anymore as it has all been destroyed. It was a daunting challenge to accept creating a layered and full, period orean market in anada during unprecedented closures of markets and restaurants. Fortunately, I knew from early scouting of B, there was an old boat barn in ichmond, B. Hamish and llen's team spent months sourcing seafood and other orean delicacies. Because the location was a historic landmark, the production had to guarantee that we wouldn't attach to anything, or spill a single drop of waterin a wet market full of thousands of pounds of seafood. As a result, we designed troughs around each vendor A. IKAINO WARD BACKLOT. BUILT IN LOT AT SURREY STUDIO CITY. ILLUSTRATION BY PIXOLOID STUDIOS. B. IKAINO WARD BACKLOT. SET PHOTO. C. IKAINO WARD BACKLOT. OVERVIEW, INCLUDING TANK FOR UNDERWATER SET. SET PHOTO. D. IKAINO WARD BACKLOT. SET PHOTO. E. INTERIOR YOSEB'S HOUSE, BUILT INTO THE IKAINO WARD BACKLOT. SET PHOTO. F. BUSAN FISH MARKET. DRESS AND BUILD AT BRITTANNIA SHIPYARDS IN BC. SET PHOTO. G. BUSAN FISH MARKET. ILLUSTRATION BY PIXOLOID STUDIOS. A B C