Issue link: https://digital.copcomm.com/i/974985
5 2 P E R S P E C T I V E | M A Y / J U N E 2 0 1 8 simultaneously the Earth's only hope for survival while also being Earth's biggest threat of destruction. The scale and aesthetic of this structure had to be both aspirational and ominous. R-DECK: This is a communal space for living, playing, eating, fighting and waiting. Since the crew had been sequestered on the station for years, it made sense that this environment be layered with human touches—exercise equipment, food printing machines, communication stations, photos of family, letters from home, sports memorabilia…even a foosball table. The idea was that this should be a confining and fraught space—a cage without the gilding. M-DECK: This is the command center where each crew member assumes their role in the mission. This is where the most defining events in our story would take place—the ignition of the Shepherd Particle Accelerator and the disappearance of Earth. Whereas R-Deck was a personal space, M-Deck had a purely mission-driven aesthetic. It would feature layers of glass interactive panels, exposed tech and circuitry, and scrolling monitors. Two hero elements in M-Deck were the telescoping Shepherd Actuator—a large, A. M-DECK ILLUSTRATION BY NATHAN SCHROEDER. B. SET PHOTO OF M-DECK BY SCOTT GARFIELD. C. & D. VIEWS OF THE R-DECK SET BUILT ON THE STAGES AT PARAMOUNT. E. R-DECK ILLUSTRATION BY NATHAN SCHROEDER. A retracting prop that initiates the event—and the large viewing port—part window into space, part data screen—framed by details inspired by the components of the Cern Supercollider. CORRIDORS: So many corridors, so little stage space…the story required a labyrinth of corridors with varying looks, functions and levels of distress. This variety of looks was critical to articulating the geography of the space station. Owing to the limited resources and real estate, an adaptable kit of parts was designed that could be reconfigured to create a multitude of looks. AIRLOCK/ESCAPE POD: As connective tissue to outer space and a means of transporting crew to salvation, these sets were of great significance to the story…they warranted a particular attention to detail. These spaces needed to project great weight and technical complexity. Working with Set Designers Patrick Dunn-Baker and Joe Hiura—in concert with Illustrator Josh Viers—we pushed the level of finish and detail to within an inch of the construction department's life (actually, Chris Snyder and company handled everything we launched at them with masterful aplomb). Late in production, a scene was added that required the