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On the corporate dystopia series struck under Erickson “Severance,” the four main characters – Mark S. (Adam Scott), Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Tururro) – a work on the bottom floor of Lumon, secret and mysterious industries. The four work in the Macrodata refining section, and their job is to sort numbers into digital boxes. They achieve … something. Their office is deeply located in the Lumon building, and all their desks are clustered together in an outsize room, carried by green carpet of the 60s and lit by oppressive fluorescent bulbs. Because Lumon workers have been “surgical” reminders of the outside world, lumon office is technically the only world the workers have ever known.
To reach the carped green room, Lumon workers have to leave a lift and walk for a very, very long walk through a labyrinth of narrow, plain-white corridors. The sets that build for “dismissal” are huge, and actors probably got lost in the very real maze that the builders put together. The opening scene of Season 2 of “Severance” was virtuous in illustrating the virtues of the maze of the eerie luminous hallways. Also left Adam Scott completely. Season 2 also revealed that a secondary basement is under the one that Macrodata refined people work, Where gemma (dichen lachman) is preserved prisoner.
Many reviews will describe “dismissal” as a glaustrophobic show, and not just because the four main characters rarely see the air. He feels limited. Majestic. As the ceiling closes in. There’s a reason for that. Designer of the show, Jeremy Hindle, recently spoke to the Hollywood Reporter About the sets and designs for “dismissal,” and revealed a simple trick for making cinematic space look limited: point the camera at the ceiling.
Redundancy feels cramped because the ceiling is visible
It should be remembered that the vast majority of TVs and films are built without ceilings, often to accommodate lighting, rigging and other technical equipment. It’s okay to build sets like this because low angles can easily be avoided. Keep the camera on a natural eye line, or lift it down, and will create a broader and better sense of spatial continuity. Because of this, on -screen ceilings, at least in everyday places such as offices and houses, have become considered oppressive and unusually short. Hindle knew this, and was able to get an eerie feel, in boxing only by making the ceilings visible.
He also, he said, aid his idea of how to illuminate “dismiss.” Open ceilings allow the employment of strong cinematic lights. A ceiling requires more naturalistic lighting. As he said:
“Never have ceilings TVs forever. And you can tell the lights. I always build ceilings. (…) (it’s) a huge fire problem. (…) I think that’s why the show has a physical feeling so nice to her because she felt it is lit like a real place. (…) It was supposed to feel that you are always kind of lost.”
The second season of “several” recently ended, with Mark and Helly fleeing the Lumon building happy to be together, but uncertain to where they could go; If they leave the building, they will not effectively exist; Their brain will turn back to themselves outside the lumon.
Audiences may be lost, but Hindle was sure to draw a map. “Removing” makers know exactly where everything is, and Hindle even showed one of its blueprints for a Hollywood Reporter article. One may be able to understand Lumon geography with such a diagram. Although I would certainly still get lost in the hallways if I were there personally.
