Ultimately we needed something just to demonstrate the filming process we were working with.

A lot of our work is design and graphics driven, which is quite minimalist, boiled down. I also thought of it as a graphical engine. I took every fun thing I like from movies and just reduced it. I was thinking of the Star Trek: The Motion Picture space stations, and a thing from Battlestar Galactica called the Light Ship. It’s got a very reductive, minimalist vibe. I thought, this has got a bit of a TRON vibe. I guess that was always in the back of your mind as well.Ĭhristopher Webb: Oh, yeah. It has its own lighting built in and a motor inside it so it can rotate about its own center point from within.ī&a: It also looks a little like a spaceship or a space station. It’s a plasticized foam core, so it’s quick to work with and not terribly heavy. The model ended up being almost three feet long.

And so I tried to put those pieces on in a rhythm and scale that meant they would respond to lighting. I wanted very absorbent black with a little bit of a sheen for lighting, and I wanted semi-gloss white. Christopher Webb at FX WRX’s studio space with the Voyager set-up. I pulled the whole thing apart several times and changed it. I like having a model to stare at and interact with. I was looking for something I thought Syd Mead would do. I’d just pick up pieces and see what felt right together. I made a bunch of pieces and laid them all out. In the spirit of David Smith, the American sculptor, I tried to let the shapes speak for themselves. How did you make that?Ĭhristopher Webb: I had worked at various model shops for almost 10 years, and we have a shop at FX WRX to build things like this. B&a: Firstly, let’s talk about the sculpture or model itself.

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