Issue link: https://digital.copcomm.com/i/1500164
K A L E I D O S C O P E | P E R S P E C T I V E 7 7 Like nearly all great heist movies and TV shows, Kaleidoscope is centered around a vault. As an audience, we're almost giddily familiar with these stakes—the vault is impenetrable, there are cameras, there are guards, there's some crazy bit of tech that will trigger the alarm. And yet, we can't get enough of watching these stories, because it's just so much fun to see how the crew pulls it off. Heists are linear stories—we typically see the crew assemble, the mark identified and the weakness in security revealed. After hiding just enough from the audience to keep us on our toes, the pieces typically come together, and our heroes get away with the goods. For Kaleidoscope however, writer/show runner Eric Garcia shuffles these pieces further by jumbling the chronology of the story itself and giving the audience more choice in what they watch next. This means that all the episodes—except the heist finale—could be watched in any order, ranging from twenty-four years before the heist to six months after the heist. As such, audience perspectives on the stakes, the relationships, and the motivations behind the heist shift depending on the order in which they learn certain bits of information. It's a puzzle. These two fundamental elements—the vault and the puzzle—guided the production design of Kaleidoscope. A. SLS ROGER'S OFFICE. BUILT ON STAGE AT NETFLIX'S BROOKLYN STUDIOS. SET PHOTO BY CLIFTON PRESCOD. B. 28 LIBERTY STREET, FORMERLY CHASE MANHATTAN, DESIGNED BY GORDON BUNSHAFT WITH SKIDMORE, OWINGS & MERRILL. PLAZA DESIGNED BY ISAMU NOGUCHI. THE SLS OFFICE AND VAULT STAGE BUILDS WERE DESIGNED TO BE BELOW THIS LOCATION. C. SLS VAULT EXTERIOR. "BLUE" PRODUCTION STILL. C B