Issue link: https://digital.copcomm.com/i/990311
ticked all the boxes and came out on top as where the production was going to build and shoot the ramshackle and decrepit Coaxium Distillery, target destination at the end of the famed Kessel Run. As is often the case, this was not going to be simple! Not only due to the size and complexity of the construction, the density of set dressing and props, the limited access and remote position of a site extremely exposed to the harsh weather elements, but it also happened to be a national park with all the associated ecological considerations and restrictions associated with it. After the location and production team tirelessly navigated the often nerve-jangling permissions process, the go-ahead was finally given at the eleventh hour to commence construction. To allow this to happen, a temporary but resilient enough access road network had to be installed to service the set and various production bases. A condition of the permission being granted was that after shooting was complete and every bit of set, infrastructure and debris had been struck, the site was to be returned to its original state. This is an undertaking that is taken extremely seriously. The set itself was developed with the concept team, and we had always liked the notion that A. CORELLIA SPACEPORT CHECKPOINT. CONCEPT ART BY VINCENT JENKINS USING PHOTOSHOP. B. CORELLIA SPACEPORT CHECKPOINT. SET PHOTO BY MATT KERLY, PINEWOOD STUDIOS. C. WHITE MODEL OF THE CORELLIA SPACEPORT BY ASHLEY LAMONT. PHOTO BY NEIL LAMONT. D. CORELLIA SPACEPORT CHECKPOINT, DRAWN BY MATT KERLY. E. CANARY ISLAND LOCATION FOR THE SAVAREEN GHOST TOWN. PHOTO BY ALEX BAILY. F. SKETCH OF THE SAVAREEN GHOST TOWN BY NEIL LAMONT. PENCIL AND COPIC PENS ON TRACING PAPER. E F