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Dan Erickson’s hit from the Corporate Dystopia series “Severance”, four main characters – Mark S. (Adam Scott), Helly R. (Britt Lower), Dylan G. (Zach Cherry) and Irving B. (John Turturro) – Work on the sub -floor of the Lumon Industries, Things. Four jobs in the Macrodata Department, and their job is to sort the numbers in digital boxes. They reach … something. Their office is located in a deep Lumon building, and all of their desks are clusted in the overtake of the room, on the carpet on a 60’s green carpet and light the oppressive fluorescent tubes. Because the memories of Lumon’s employees are surgically “separated” from the outside world, Lumon’s office is technically the only world that employees have ever known.
To get into green carpets, Lumon’s workers have to leave the elevator and walk a very long walk through the narrow, ordinary white corridors. The “consequence” sets are huge, and the actors disappeared in the actual maze that the Set builders were compiled. The opening point of the “consequence” season 2 was virtuosis to describe the characteristics of the ghostly Lumon corridors. It also left Adam Scott completely out. Season 2 also revealed that there is a secondary basement below the Macrodata yeast regulations, where Gemma (Dichen Lachman) is considered a prisoner.
Many reviews describe “isolation” as a claustrophobic exhibition, and it is not just because four protagonists rarely see the sky. It feels in the crowd. Awesome. As the roof is closed. There is a reason for that. Program production designer Jeremy Hindle, Recently talked to the Hollywood Reporter “Sarance” series and models, and he revealed a simple trick to show the cinema as anxious: just point the camera on the ceiling.
The consequence feels in the crowd because the roof is visible
It should be remembered that most of the TV and movie series are built without roofs, often to customize lighting, takila and other technical devices. It’s okay to build series in this way because small corners are easy to avoid. Keep the camera only with a natural eye line or lift it up and angle it, and it creates a wider and better regional continuity of continuity. As a result, the ceilings of the screen, at least in everyday spaces, such as offices and houses, have become distressing and unusually short. Hindle knew this and was able to get a ghostly, box feeling just to make sure the ceilings were visible.
He also said that it helped his thought to ignite “separately”. Open ceilings allow for strong, cinematic lights. The roof requires more naturalistic lighting. As he said:
“There are never ceilings on TVs. And you can tell with lighting. I always build roofs. […] [It’s] Huge fire problem. […] That’s why I think the exhibition has such a nice physical feeling because it feels like a real place. […] It always had to feel lost. “
The second season of the “consequence” recently ended when Mark and Helly fled to the Lumon building happily together, but uncertain where they could go; If they leave the building, they actually stop existing; Their brains turn back to their outside.
The audience may disappear, but Hindle had certainly drawn a map. The decision -makers of the “consequence” know exactly where everyone is, and the backs even introduced one of his plans of the Hollywood Reporter article. One may be able to seize Lumon’s geography with such a chart. Even if I still get lost in the corridors, I would be there personally.
