The Landscape Art of Cevan Forristt  

NOTE: These snapshots were taken only with an iphone without a wide angle lens and were not processed. Imagine how professional shots of this environment using a wide-angle lens will look.

ENTRY

SETEE where Alice has fallen asleep

DINING TABLE

This is a nearby garden design by Cevan Forristt with a dining table that typically seats six. Although this table could probably be made to work for eight (the number needed for the film), I now believe that Cevan Forristt’s own dining room would be better if the lights in his dining room can be raised so that they do not appear in the film.

Furnishing in Cevan Forristt’s own dining room

I should have photographed Cevan Forristt’s own dining table, which seats eight in gorgeous hand-carved Chinese chairs. I did not photograph it because this larger table has many complex hanging lamps that would have to be lifted. If that’s possible, this would be the perfect room for ALICE to shoot a hole up through a plain white ceiling (we’d capture a plain white ceiling somewhere else). After she shoots we animate and insert the oculus of the Pantheon, e.g. image below.

EXTERIOR GARDEN & PATHS

OTHER POTENTIAL INTERIOR SETS

SPECIAL EFFECTS

Although the original concept in the screenplay was that when the power is shut off, red backup warning lights blink on, imagine if instead all the Buddhas go berserk as in the image below.

OTHER SITES MAY BE NEEDED FOR SHORT SHOOTS

MODERN KITCHEN. In the screenplay the chef, Pedro, goes to an ultra-modern kitchen to do the finishing touches on his poached pears. Jon also goes to that kitchen with its huge, fancy fridge to pour a glass of water and discovers that the water is off.
STEEP STEPS. The screenplay calls for the cameraman to walk down a steep flight of steps to find ALICE asleep in her garden and for ALICE to walk up a steep flight of steps to her dark house. My neighbor across the street has a very steep long flight of steps.
THE MIRROR. All mirror worlds characters were going to be shot in a green screen studio. Mirror entry and exit would need to be spliced together with shots of this environment.
DINING ROOM. I now believe that Cevan Forristt’s own dining room would be best if the many hanging chandeliers can be lifted so that they don’t appear in the picture.
WHITE CEILING of the Dining Room. We capture that somewhere else and collage in the Pantheon after ALICE shoots.