For production designer Gemma Jackson and set decorator Tina Jones, collaborating on Joss Whedon’s supernatural Victorian thriller, “The Nevers,” was like pulling the pin out of a grenade and watching the fantastical world explode. While this was a far cry from the medieval trappings of their Emmy-winning “Game of Thrones,” it was arguably more challenging to visualize Whedon’s cerebral take on political power and class division, where social misfits are “touched” with extraordinary abilities to save the planet from future destruction.
“I read the script and took lots of images when I went to see him, and I hit the spot with my research,” Jackson said. “Joss loved my ideas about the Galanthi [the aliens that help humanity], which had never been seen before. I think that made him excited. We started to talk about this world with these people having extraordinary things happen to them. It wasn’t a straightforward process, ideas developed organically.
“I read the script and took lots of images when I went to see him, and I hit the spot with my research,” Jackson said. “Joss loved my ideas about the Galanthi [the aliens that help humanity], which had never been seen before. I think that made him excited. We started to talk about this world with these people having extraordinary things happen to them. It wasn’t a straightforward process, ideas developed organically.
- 5/21/2021
- by Bill Desowitz
- Indiewire
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