00:08I'm at Fox Studios in Sydney, Australia, but that is only where I currently am temporally
00:14on planet Earth, because in the grand scheme of things, I'm about to visit an alien planet.
00:20Inside this corridor is actually part of the universe created by Ridley Scott for Alien
00:24Covenant, and I'm about to take a look.
00:37I'm about to curse.
00:39So I'm standing on what you'd recognize as the Dreadnaught set, and just for reference,
00:44this set wasn't stored after Prometheus, even though this set was used in Prometheus.
00:49No, they rebuilt it entirely from scratch, and all of these men and women here, these
00:53craftspeople, are working furiously to get the set ready for filming.
00:57To give you an idea of their timeline, it's currently Tuesday today in my world, and
01:03they're filming on this set on Thursday.
01:05That means all the lighting, all the painting, all the weathering, all the props, and a huge
01:09engineer's chair will sit in the middle of that platform between now and 48 hours from
01:14now.
01:15Those are the stakes.
01:16It's pretty intense.
01:23This is one of the engineer's chairs that sits at the console on the Dreadnaught set.
01:28Can I sit in it?
01:29Is that all right?
01:29Yeah.
01:30I think, yeah.
01:33I was going to sit in this, but I'm not convinced it's not going to fall over.
01:39And that would be so bad.
01:41That's not how I want to be remembered for my visit here.
01:45I'm just going to admire it.
01:47It's beautiful.
01:50This is one of the coolest things to see in this room for me.
01:53It's the Space Jockeys platform.
01:55Again, you remember it from Alien.
01:57You remember it from Prometheus.
01:59Everyone here is getting ready and weathering this thing.
02:02They're all adding different textures and layers to it.
02:04All the stuff that I've done in weathering my small props, it's really almost the same
02:09process.
02:09The trick is to add color, to add texture.
02:12It doesn't necessarily pop to your eye, but helps bring the details out.
02:16It helps to add layering and weathering, and really, a story.
02:20If you just paint it one color, it just looks like a single object.
02:24But when you add that weathering, you're adding more of a narrative to that object.
02:30Here's what I love about standing here and seeing stuff like this, where you can see
02:34the beautiful, finished, ready-to-film interior, and the rough-hewn foam and wood exterior.
02:40Far from pulling me out of the universe, it actually makes me fall in love with film.
02:44Every single time I see something like this.
02:46I mean, there are some modern materials being used, some modern foams and plastics and rubbers
02:51and stuff like that.
02:52But the basic techniques of shoring up these fake sets, these techniques have been being
02:57used for hundreds of years in theater and then in film.
03:01And again, this is all in service of allowing the actors, once they enter into this universe,
03:06to enter into the universe and not have anything that takes them out of it.
03:11To immerse them so that they're present in their character and in the narrative that Ridley's
03:15creating for them and thus for us.
03:18So if you're wondering exactly how this is built, the interior is molded fiberglass.
03:24They had a mold that they repeated and they cast it in fiberglass and then they started
03:29assembling it and it's backed up with an AB rigid foam.
03:33Sometimes this is sprayed, sometimes this is poured.
03:36The only difference between this set and let's say a set, the Ten Commandments, Cecil B.
03:41DeMille, literally would just be some of the material choices.
03:45There was still fiberglass back then and it was more plaster than foam.
03:48But the overall structure of being slapped together out of wood is essentially the same
03:52as it was a hundred years ago.
03:59So we're at a particular moment on a film set that I've experienced many times.
04:03Everyone's feverishly getting this set ready because Ridley Scott is about to take a walk
04:07through of the set to see where it's at, changes he might want to make, lighting ideas.
04:14Again, it's Tuesday and they're filming on this set on Thursday, so the stakes are really high.
04:21And now turn it around, and now go that way, and come in, and sit down, and sit down.
04:45Cut it?
04:47Cut it.
04:47Cut it.
04:48Cut it.
04:50Cut it.
04:53Cut it.
04:54Cut it.
04:55Cut it.
04:55Cut it.
04:56Cut it.
04:59Cut it.
05:00Cut it.
05:00Grazie a tutti
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