Issue link: https://digital.copcomm.com/i/1529668
that space to look fantastic (of course!), but I also want to make sure that it performs efficiently for the crew (to have different egress points; areas to park carts; to place video village, etc.). Most of all, I like to make sure there are built-in opportunities to lift a wall, to remove a ceiling piece, options to help light the set naturally. Sometimes those options are used, sometimes they are not. In this particular case, because of the nature of the Box and The Infinite Corridor, which per script, are both completely devoid of windows or lighting sources, I knew it was going to be a big challenge for the DPs. Understanding that I was not going to be able to solve this lightning challenge, I set up to help as much as I could. Incorporating protruding corners to The Box added to the visual style, by breaking the shape of a simple cube, it also provided a way to wild all walls, in and out, as needed. Something similar happened with The Box's ceiling design: The raised element on top is not only visually pleasing, but allowed for that top to be easily removed to provide lighting access; another camera port, etc. All of these components were then repurposed along The Infinite Corridor, bringing along the same advantages. The corners became structural pilasters in The Infinite Corridor, that help with wilding walls and also adding a source of depth and shadows. Same with the ceiling element. Once the design was resolved, the crew went onto building it. We tried using the same steel sheets that we used for The Box, but it proved to be too heavy, too prone to scratches and, yes, too expensive. What next? Research. Samples. Models. Full-scale models. More samples! Let's start all over again! Finally, the team circled back to one of our first ideas, but with a different vendor, and the photographic, printed material worked. We went ahead with a mix of actual steel and printed sheets for specific areas. Lighter, easier to clean and more affordable. At this point, I feel compelled to mention that I can't imagine any DP ever dreaming of shooting the interior of a dark, windowless box and an infinitely 2022.07.27 MESQUITE PRODUCTIONS, INC. INT. INFINITE CORRIDOR BLAKE CROUCH PATRICIO FARRELL FLOOR PLAN/ELEVATION 31ST ST STAGES (1-3) P.OLEKSY 401 01 01 NA SCALE X/X" = 1' A 01 A B 13'-0" 12'-6" 10'-9" 3" 1'-0" 6" 11'-0" 1'-6" 3" 7'-0" 3'-9" 11'-0" 1'-0" 10'-0" 3'-0" 4'-0" 3'-0" 2'-0" 3" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 1'-0" 84'-0" 12'-0" 1'-0" 10'-0" 3'-0" 4'-0" 3'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 2'-0" 10'-0" 1'-0" 84'-0" 12'-0" 1'-6" 3" 9'-6" 1'-6" 3" 10'-0" 6'-0" 8'-4" 1'-2" 1'-2" 6" 7'-4 1/2" 3'-4 1/2" 1'-6" 1'-6" 10'-0" 1'-6" 8" 6" 2'-4" 3'-6" 3'-6" 6'-0" 3'-6" 6" 1'-0" 11 1/2" 1'-5 1/2" 5" 3" 1'-0" 1'-6" 135° 135° 6" 3" 10" 5" 3" 3" 6" 1'-6" 3" 3'-9" 7'-0" 3" 10'-9 7/16" 5" 8 1/2" 4 1/2" 1'-6" 6" 3'-9" 6" 10" 5" 3" 4'-4 1/2" 4 1/2" 4'-0" 4'-4 1/2" 12'-3" 4 1/2" 4'-0" 2 1/2" 1/2" 6" 3" 1 1/2" 1'-1 1/2" 10" 5" 3" 1 1/2" C. THE INFINITE CORRIDOR. PRODUCTION STILL. D. THE INFINITE CORRIDOR. CONSTRUCTION DRAWING. C D