Issue link: https://digital.copcomm.com/i/1539634
P A R A D I S E | P E R S P E C T I V E 5 5 When I first read the pilot of Dan Fogelman's Paradise, I was already intrigued by the premise—a political mystery thriller. But reaching that final page, with its massive reveal that we're actually inside a bunker with an LED sky, I couldn't believe it. The story follows the aftermath of an apocalyptic natural event—a super volcano eruption that triggers a catastrophic chain reaction around the world, forcing humanity's selected survivors into an underground city built inside a Colorado mountain. Within twenty-four hours, I'd gathered reference materials and joined the producers and directors on a Zoom call for an exciting exchange of ideas. My conversation with Dan about his vision revealed a layered, nuanced story—huge in scope yet intimate in detail, with multiple storylines and character arcs unfolding through his signature nonlinear narrative. This disruptive time structure, weaving between the catastrophic events leading to the bunker and life inside Paradise years later, meant my designs had to work across multiple timelines. Here was my chance to help build an entirely new world—or rather, two worlds separated by catastrophe. The Story Begins: The White House The events of Paradise begin in the White House, where we meet President Cal Bradford (James Marsden) and Secret Service Agent Xavier Collins (Sterling K. Brown). In the pilot, scientists warn of an impending cataclysmic event, catching the attention of Samantha "Sinatra" (Julianne Nicholson), a recently made billionaire who decides to use her vast fortune and remaining time to construct a bunker city inside a mountain for a select group of survivors. She needs political support to build this city and keep it secret—enter President Bradford. For the young, charismatic President, I designed a clean, bright, graphic West Wing. Crisp white walls paired with a blue, gold and cognac leather palette carried through all of Cal's environments. The Oval Office was a preexisting set from storage, requiring weeks of restoration, plastering and carpentry to get it ready to shoot. From the start, I knew the series would need extensive corridors for episode 107, which plays almost entirely in the White House and shoots like a continuous take. The production combined five locations and stage sets to capture the West Wing, with Lead Set Designer Will Batts hand- A. CUTAWAY OF PARADISE. DRAWN BY ANDRÉS PARADA IN PHOTOSHOP AND LORI WEST IN ILLUSTRATOR. B. OVAL OFFICE ILLUSTRATON MODELED AND RENDERED IN CINEMA 4D BY KEVIN BIRD. FINISHED IN PHOTOSHOP. B