Issue link: https://digital.copcomm.com/i/1485934
T H E M E N U | P E R S P E C T I V E 1 2 5 For the ceiling, itself a character in our film, I was inspired by Japanese trellises. I thought this could be used to manipulate light outside as things grew psychologically darker inside. We added moss to our skylights, another example of Slowik's fascistic control over natural properties. The ceiling proved to be one of our boldest and most complex engineering feats. It could be removed in sections to allow for day-to-night transitions. Likewise, I was inspired to create organic forms using industrial materials. A protracted hallway ceiling—the final link between the safety outside and the sinister secrets within—became the design team's obsession. Steve developed complex curves in Rhino and lead sculptor Alexander Sherrod and lead scenic Sean Bernard mottled them with gold leaf. The effect was that of concrete appearing to ripple. D E F G H