Issue link: https://digital.copcomm.com/i/1485934
Much like the dollhouse set, the crew needed to build a set that would make the actor look tiny. Yes, we need to design and build a 16-foot-tall penis head, with a 40-foot-long urethra tunnel, with semi-translucent walls (so the actor could be lit). I'm not sure anyone can actually take credit for designing this set, but we certainly had many discussions and meetings that in other circumstances, might earn a call from the human resources department. The task of constructing this set fell to Ron Stefaniuk and his StefFX creature effects team in Toronto. For those who are fans of the show, this team built the animatronic dolphin from season one, and the spectacular whale innards set from season two. For those who haven't seen this show, and managed to read this article, you're probably either terrified or intrigued. If you are a fan of the show, you undoubtedly watched the last described sequence over a few times, wondering if you really just saw what you thought you saw. Watching The Boys is a wild ride, working on it daily, even wilder. The challenges presented were some of the most ridiculous of my career, and the end product, one of the things I am most proud of. ADG Jeffrey Mossa, Ar v Greywall, Production Designers David Best, William Cheng, Art Directors Stefany Koutroumpis, Assistant Art Director Mar yann Adas, David G. Fremlin, Sally Van, Doug Slater, Set Designers Carley Crossman, Joelle Craven, Theresa Shain, Natasha Mufti, Graphic Designers John Gallagher, Vince Proce, Jonathan Standing, Illustrators Cher yl Dorsey, Set Decorator E F G H