It felt more like laboratories that test animals, rats in cages, that spectrum of feeling. It had to be totally antiseptic, to be visually different from what we had seen before. For Hestia, I felt like we had to go white. We were trying to integrate all the looks of the different places, but also delineate them. Dolores and Caleb find a sort of defunct military base or detention center. So Ricardo Bofill’s headquarters are Serac’s headquarters.īut in Episode 7, we get another one of Serac’s labs. Through Bjarke Ingels and his connections, we were able to shoot in his offices and residence at “La Fábrica” (or “The Factory”) just outside Barcelona, which has all these postmodern-Gothic details cut into the building, like the archways. We had seen Serac’s lab at the unknown place where he lives, and those labs were actually based on the converted cement factory that houses the architectural workshop of Spanish architect Ricardo Bofill. ![]() Let’s talk about what I imagine was your most complicated set this season: Hestia. Cummings chatted with SYFY WIRE about this season’s challenges, his inspirations, as well as the issues of working with A.I. Everything is directed and determined, which is why Dolores blows it up."Ĭummings needed to create spaces that seemed free and open above ground - with sparse travel in personalized air vehicles, or airpods - and hide the truth of the society underground, with secret labs and lairs run by A.I. "You can see, especially in the earlier sequences, people are wearing masks," Cummings tells SYFY WIRE. "We had discussed what would have happened, and it was important to feel like you’d want to live here. Of course, those benefits hide other, much deeper-set issues and questions, but those hide under a veneer of security. In this deterministic version of the future, people have survived a pandemic, climate change has been solved, and traffic is reduced. ![]() Not many sci-fi shows are as widely traveled as Westworld, which broke out of its base locations of California and Utah this season to shoot in Spain and Singapore - an effort to make its futurism feel less artificial and more grounded in the real world. The most daunting aspect of designing Westworld, according to production designer Howard Cummings, was the scale.
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