Issue link: https://digital.copcomm.com/i/1507937
M R S . D AV I S | P E R S P E C T I V E 6 3 with full intention placed on the word SOON as in, "hurry up and get back here!" I love historical and fantasy work and I really have very little experience in sci-fi. I often made the joke that you could put me in a dark cave with a pencil for a week to do sci-fi and I would just end up drawing the cave. Looking at my set list for the first episode, we were in medieval France, a biblical refuge for delicious falafel, a hippopotamus meat factory, a clandestine headquarters for the subterfuge ops and a scavenged fort construction on a desert island for a mad scientist. We pulled off a Super Bowl-style commercial from the 1990s and burned a bunch of knights at the stake. Sci-fi or not, I dove in. We didn't get the research prep time as we normally do on a film, so we had to research while we drew. When it came to Jesus' falafel shop, we had lots of questions: What did Jesus like to eat most? Should his menu be in Aramaic or Hebrew? Perhaps it was a vegetarian joint? The questions and reasons "why" are the most fun part of the job for me. Figuring out how to turn our nun into a human anesthesia missile to numb Monstro the whale into swallowing a restaurant whole was a first. Our worlds were all filmed on stages at Warner Bros. and various locations around Los Angeles and on the Catalonian Coast in Spain. The crew built a 45-foot Arthurian sword that men grappled onto in a Highland games festival challenge in Excalibattle. We had the ancient sect Sisters of the Coin—a secret clan that needed coins and signatories designed, wrestling the masculine iconography away from its genesis and imbuing it with new matriarchal prowess. A man named Schrödinger and his cat had their own universe designed and I will point out that thanks to our very well-connected Spanish scout Luis Botella— we got permission to film in a never-before-used Montaner building in the heart of Barcelona and an off-limits Gaudi-designed and furnished residence. Toss in a hydraulically powered rock in the middle of the desert that hides a decoy refuge for our protagonists and a hippopotameat factory where the subterfuge Durden gang plot to annihilate the threatening AI omnipresence. The list of madcap sets goes on, finally culminating in a euthanizing roller coaster loosely based on an actual Swiss design where one D. MODEST HOUSE. ILLUSTRATION BY ALVARO CORTAZAR. E. MODEST HOUSE. PRODUCTION STILL. F. SCHRÖDINGER'S HOME. SET PHOTO. G. SCHRÖDINGER'S OFFICE. SET PHOTO. H. SCHRÖDINGER'S BEACH HUT. PRODUCTION STILL.. F G H