| abstract
| - A transcript is a retrospective written record of dialogue, and like a script (a prospective record) may include other scene information such as props or actions. In the case of a transcript of a film or television episode, ideally it is a verbatim record. Because closed-captioning is usually written separately, its text may have errors and does not necessarily reflect the true Canonical transcript. Kris White: Hello everyone and welcome to the Official Lost Video Podcast, hosted by ABC.com. Well for those of you that tuned in to our last episode, you saw that a certain dead doctor washed up on the beach; and while I can't guarantee that this week's episode will answer that clue like mystery, we can give you a tour of some of the rooms that it might have occurred in. That's because Set Decorator Carol Kelley is with us this week to give us a tour of the freighter. Of course for those of you that are interested in more information about that last episode, you can tune into our audio podcast with Executive Producers Damon Lindelof and Carlton Cuse. They'll also be prehashing our upcoming episode entitled Something Nice Back Home. [dopey look on his face] Makes me think of lemonade, porches, summer time... anywhere but here. Any case, that episode airs on Thursday, May 1st at our new time - 10:00 PM - available the next day at ABC.com. Here now is Carol Kelley. Carol Kelley: The Set Decorator is given the set by the Production Center and the Art Directors. We're given the box, the style, and the direction. [Show's a clip of Michael's apartment - off-island - accompanied by text at the bottom of the screen which reads as follows] INT. MICHAEL'S APARTMENT - NIGHT - FLASHBACK A ONE ROOMER. The kitchens dirty. Water's dripping from the faucet into dirty dishes in the sink. Peeling paint, cracked linoleum and fixtures and worn-out carpets. A real, live CRAPBOX if ever there was one. Carol Kelley: What we do is bring any furniture, or things that are added... we make the set come alive. For the freighter for example uh, is a lot of marine salvage; uh, because it is a freighter. We're given reference pictures, and we've seen a real freighter that we've shot on. [[On the set for the freighter captain’s quarters] Carol Kelley: This is where our captain - it's kind of his office, we don't show a bedding area we just kept it his office. We wanted our freighter to be really old and dingy and down and dirty. We'd had a lot of research on our real freighter that we used for our exterior shots and what we did is - this part in particular - one of our directions in this set was to give the captain the things he would need to find the Island. [Show's a clip of the captain’s office area, accompanied by text at the bottom of the screen which reads as follows] INT. FREIGHTER - CAPTAIN'S STATEROOM - DAY Captain Gualt leads Desmond and Sayid into his CLUTTERED stateroom. Papers. Equipment. Maps. An 18th century binnacle, what looks like debris. Claustrophobic and CREEPY. Carol Kelley: What we did was we researched old maps and new maps - we have aerial photos of various places that we are implying our captain is using in his search for this island; which is part of our story direction. One of the differences in Lost is that we do all these flashbacks and flash forwards which take us to so many different countries. [Shows a clip of Michael's encounter with Tom in a Manhattan alley] Carol Kelley: People who watch the show always say to me "Oh you’re the set decorator on Lost, how easy that must be; you're just in the jungle all the time and on the beach.” And I'm amazed that they don't realize that all of the sets - all of the flashbacks - we do that all here, in Oahu; we never leave the island. There's a street in Oahu that - I'd say in a six block section... at one end we did London. In the middle next Monday we're doing New York, and at the end we did Berlin - in that one street. [On the freighter hallway set] Carol Kelley: On our way to the radio room, we're in one of our freighter hallways. Right now - because we've pretty much just started building and creating our freighter - we have this one hallway, but what we do is we do changeovers. So even though we have this one space, we have a few things like what we call a bulkhead, where we insert pieces of walls and change out a little of the piping so we make the same hallway look different. In our research we saw on the ships that there was all this kind of wiring and piping, [pointing at the conduits on the hallway ceiling] so this is all added by set dressing... But we hang the lights; we do all of these elements. Some of this is real; [knocking on an electrical box] like these are real pieces that we had from naval salvage... This is PVC pipe [knocking on a piece of what's supposed to be an electrical conduit]; so we do elbows... Our guys are given a direction that - we say you know, box box pipe pipe... Uh, sometimes they're given specific direction, and then sometimes we just say "Do pipes" and they'll do pipes. The thing that attracted me was the fact that I had a knack for finding things and resourcing things; and I would go to the Nth degree to find the right thing, and no matter what it was - I would see something on the side of the road and I would find out who had it and track it down. [Shows a clip of Sayid entering the radio room and examining the broken equipment, accompanied by text at the bottom of the screen that reads as follows.] INT. FREIGHTER - RADIO ROOM - DAY Desmond follows Sayid and Minkowski INSIDE. We angle around to reveal COMMUNICATIONS EQUIPMENT. But no lights are glowing, none of the gear is humming - IT IS ALL NOT FUNCTIONING. In fact, a BUNDLE OF WIRES HAS BEEN YEANKED OUT AND CUT IN TWO. Sayid looks dismayed -- Carol Kelley: [Now on the freighter radio room set] This is our radio communication room. We see it in different ways. The first time we saw this in our shows, it was all disassembled. Now in this episode it's actually before that time. A lot of this is salvage from our sources from the Navy, Pearl Harbor - we have a lot of salvage equipment that we put together. A lot of this is real panels, incorporated with a little bit of our things that we make up. We try very hard to make it appropriate and as accurate as possible. We rarely uh, have an opportunity to get off easy. In fact our fan base is such that they keep us honest. We have learned - from watching the websites - that they will freeze-frame and zoom in; so in the past when you used to be able to get away with a lot of stuff in the background - we can't do that anymore. [Closing podcast theme]
|
![[RDF Data]](/fct/images/sw-rdf-blue.png)