I got involved with the White Lily shoot through Sophia Ramcharan, who is the producer at Stella Vision Films, which was also responsible for The Grand and Happy New Year, two shorts that I had worked on previously. I joined the crew quite late due to being abroad for a lot of the production meetings, but I was fortunate enough to be working under Sarah Lewis, who I had also worked with before. I was excited to be a part of not only a science-fiction short, which was a genre I hadn’t had the opportunity to work on before, but also a full set build.
The set was assembled from black plastic pallets and cable ties, which quickly became a really good base for the set. The director of White Lily, Tristan Ofield, sourced the pallets and built a small test set before the full build in the warehouse space. The writer, Adrian Reynolds, was also onset for the set build and shoot. It was really nice getting the original creator’s opinion as we dressed the space.
White Lily was a kick starter funded short written by Adrian Reynolds and directed by Tristan Ofield.
Although the pallets created such a good base for the ship interior, I felt that the space really came alive with all the wires, signage, and part of old computers that we used as dressing. I am personally a huge Red Dwarf fan, so little touches such as the hazard tape around the doors, were very much inspired by that.
This is the set, complete with cast and boom operator, shown below.
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