“You never want something to look or feel like a prop or a piece of clothing.” [Exclusive Video Interview] – GoldDerby

Ed Miller/Netflix

“This is something that haunts all production designers; it’s something that requires a lot of hard work,” admits the four-time Emmy-winning production designer Deborah Riley (“Game of Thrones”) is about striving for authenticity and realism to ensure that the look of a series never seems too staged or artificial. “It’s layers and layers and layers, and often it comes down to [for example] a set designer who just touches all the props and touches up all the walls and makes them look a little bit lived in. You know, a little layer of dust over everything helps,” laughs Riley during our last web chat, adding, “You have to look at everything, squint slightly and add yourself. You never want anything to feel or look like a prop or a costume. It has to feel like someone put it there for a reason.” Watch our exclusive video interview above.

SEE Exclusive video interview: David Benioff, DB Weiss and Alexander Woo (creators of “Three Bodies”)

“Three Bodies” was co-created by the multiple Emmy-winning “Game of Thrones” duo David Benioff And DB Whitewho act as co-creators and producers with author/producer Alexander Woo (“True Blood”), based on the Hugo Award-winning novel “The Three Suns” by Chinese author Liu Cixinthe first part of Liu's trilogy “In Search of the Past”. Benioff, Weiss and Woo co-wrote the pilot episode titled “Countdown”, which is set in both 1960s China and modern-day England, where astrophysicists attempt to uncover and debunk a threat to humanity posed by a far-flung and more advanced alien civilization called San-ti. The international cast of the science fiction drama includes Rosalind Chao, Jess Hong, Benedict Wong, Jovan Adepo, Eiza Gonzalez, Alex Sharp, Sea Shimooka, Marlo Kelly and former “Game of Thrones” stars Jonathan Pryce, John Bradley And Liam Cunningham.

Capturing the various settings and time periods for the sci-fi drama presented some challenges. Set primarily in 1960s China and modern-day England, the series also features a spectacular sequence in a recreated Panama Canal where a cruise ship is sliced ​​horizontally by dozens of futuristic nanofiber cords (it has to be seen to be believed). The art department also really shines, with the story's characters entering a futuristic virtual reality environment wearing a shiny chrome VR headset (also designed by Riley and her team) and being virtually transported to different places in space and time, such as a desolate alien desert, a medieval cathedral, a volcanic landscape, and a temple surrounded by 30 million soldiers. “It really started with a lot of concept art, just trying to guess in the dark: is it like this? Is it like this? Are we overdoing it in terms of color? Are we really being realistic about it?” Riley says when asked how the team tackled the enormous task of creating all of the show's stunning visuals. “When we defined it, I actually went back to the basics of what I started with David and Dan on Game of Thrones, which is to create a very grounded environment, which is really the point of VR. The players in the game experience it like real life; they can feel it, they can touch it.”

PREDICTIONS the Emmy nominees 2024 until July 17

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