The Hive Observations, Unexpected Results, and Mind-Benders
“More like homeless in the country.” – Felix Dawkins
The wonderful Nora McLellen, Brenda the Birdwatcher, spent almost a whole day playing dead. To top it off, at the very end of the shoot, we dumped water all over her (“gas”), multiple times. She was incredible. The flies you hear and see around Brenda and the feast gone wrong? Fake. We used VFX to add in the flies hovering around the dinner and body.
A feast gone wrong.
Did you notice that the photo Daniel takes of Kira’s is the same photo that Benjamin was taking at the end of episode two? He was making her a fake passport.
Kira, the candy thief.
The art department had to make an entire new brand of candy for Kira to steal from the corner store—DEW WOPS. You wouldn’t imagine how many meetings and minds it takes to make a new brand of candy. (A lot.)
“It’s what I did, pollinators.” – Cal Morrison
Set Inspection: Cal’s Digs
The mail piled up in Cal’s cabin was all created by our art department. It was going to be featured in a shot so it had to be fake for legal reasons—each piece hand-crafted and aged. Luckily the rain that day helped. A bunch of Cal’s photography is actually work by director T.J. Scott. T.J. directed this episode, and his work fit the exact aesthetic The Hive hoped to achieve. It was serendipitous!
Director T.J. Scott’s photography decorating the walls of Cal’s cabin.
Chris Roberts, our designated science and medical go-to guy within The Hive, came up with the pollinators, military and micro-optics. Props master Geoff Murin created one of Cal’s inventions, a wood and steel windmill. There was such a clear vision of the type of artist and creator Cal was and the whole art department worked really hard to capture it in the props and sets around him. Their work, to help define who this new and important character is, was crucial to Cal’s first episode.
“She all right?” – Cosima Niehaus, watching Jennifer Fitzsimmons’ video diaries
All of the Jennifer footage was shot before season two officially went to camera. We shot in smaller half-sets around the studio, one of which was season one’s writers’ room. Paul Jones gets all the credit for Jennifer’s body in the autopsy. He and his amazing team built an incredible prosthetic body that opened up and had all of the organs and insides ready to go! The lips moved, the head was weighted realistically; it was a fascinating day on set. We love our body horror on Orphan Black.
This episode marked Blood Ties’ opening night, and what a night. The poster Alison walks by on her way backstage is actually the very same poster from the real Blood Ties musical, which was used in Toronto and at the Edinburgh Fringe Festival. It was designed by Toronto/NYC illustration Jim Mezei. The art department loved it and simply photoshopped Alison Hendrix and Sarah Stabbs into the poster as the play’s headliners.
The wedding… Well, that was creepy. Costume designer Debra Hansen and her team did amazing work. By combining the white dresses and western suits, they created the creepiest of all weddings. Poor Helena.
Capturing the Car Crash
Would you believe us it we told you that making the crash look real involved driving the truck directly into a HUGE mirror on the highway and shattering it everywhere? Because it did—among many other steps.