Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Warning: SPOILERS for Silo season 1Silo is not just one of the most captivating science fiction shows on Apple TV+; it’s one of the best shows of 2023. Based on a series of novels by Hugh Howey, Silo tells the story of the last ten thousand people on Earth who, for generations, have lived underground in a glorified fallout shelter.
After a lot of discussion, we felt that a more Eastern European, socialist type of architecture--in concrete--was the way to go. In some of the early concepts, we did introduce quite a lot of metalwork and metal structures into the Silo, but it started very quickly to look a little sci-fi; it started to look like a spaceship rather than a building. Once I understood that we were in the right sort of area, I could start thinking about that in a more detailed way.
Gavin Bocquet: Our main job as a production design department and art department is to help move the story along and define the characters. One place you can do that very well is when you've got living spaces and offices, because you can start to get personal effects. You can start to make them feel really part of that character. And Amanda Bernstein, the set decorator, and Johnny Norman, the prop master, did a really good job.
We did have some ideas earlier on with Morten and Graham that in the upper levels, they would always be cleaning the floors, washing the floors, to get rid of dirt, and they would... Like gullies over the balconies, all the levels would push this water over the edge of the balcony. So by the time you got down to level 144, there was just a continuous waterfall of dirty water coming down.
When you think about how TV is now with streaming, it was quite advanced for George to be pushing. It is almost a little bit ahead of its time, getting into that sort of sophisticated TV drama. He didn't actually use ILM for this digital work; they used a facility house in San Francisco that just did commercials. He wanted to get the cost down where you could justify these five or six digital shots in Young Indy that would normally cost an awful lot on a feature world.
I think we were just pleased to get to the end of it, and the fans seemed to like how it looked. Although George got--maybe a bit unfairly--criticized for the shows, thankfully it was always felt that they looked okay. Peter Russell, my art director, and I said after Phantom Menace, "Well, at least we've got something on our tombstones that somebody will recognize." But it's interesting. It's what George wanted to make.
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