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'Westworld' Creators Constructed a William Gibson Dystopia

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I am currently very interested in architecture, fashion and design in terms of new technologies such as 3D printing and new concerns such as environmental conservatism and how to be smarter in using resources. I think the whole world will have to focus on some of these issues as a natural part of human evolution, and this will necessarily lead to new innovations. So, based on the same data, we form a kind of hypothesis.

Nolan: Fiction is humanity talking to itself and making assumptions about its own future. While most futurism seems dystopian, this feedback loop is hopefully a virtuous one. I don’t know what this means. Nothing good, I’m dreaming. But as a civilization, as individuals, I think we are chatting with ourselves about where we want to go technologically and culturally.

I try not to overemphasize or place too much emphasis on what we’re doing, but I think it’s fascinating to be a part of this conversation.

There is an episode in the show where Flynne sends the formula of a 3D-printed drug that will help the mother of his future contact, and it looks really mind-blowing, but there are researchers who are investigating how to 3D print organs. He. Everything is theoretically possible.

Joy: When I started my career on a show called pushing daisies, we were already talking about 3D printed meat. All these years later, it’s still a part of the conversation and probably a part of futurism as it’s possible.

We are all looking at the same thing and examining it together. Part of being a writer is keeping your ears on the ground, watching and observing, and allowing what’s going on in the world to reveal itself to you.

Finally, there’s a lot of new tech for the series, including these huge air purifiers in London and this crazy kind of sonic weapon. How did you imagine these and who did you work with to make them a reality?

Nolan: We’ve been fortunate to work here with our longtime criminal visual effects partners, Jan Roelfs and Jay Worth, with whom we have a very long and fun relationship imagining how to bring these things to life. And then with them came an army of artists, designers and VFX artists trying to figure these things out.

Honestly, that’s the fun part. Shortly after bringing the book to us, Vincenzo met with a number of graphic artists and developed a sort of lookbook and a set of ideas for how the series could work; this included a visual idea that later informed the narrative of the carbon sequestration towers. are the giant sculpture towers seen in many shows. The idea behind these is that the carbon sequestration tower uses captured carbon to create art on a large civilian scale.

Such ideas are informed partly by narrative and partly by “Here’s a nice visual idea”. Why would this gigantic giga-size statue be in London? Once you find the answer below, that ties it all together.

I think these towers are one of the most elegant and beautiful touches in this series, and the idea came when artists, writers, directors and production designers thought together about what our cities would look like in a few generations. .

That’s definitely the most fun part of working on the series for me, really. So frankly, I like being futuristic with ideas, characters, themes, but an endless R&D budget. Whatever bullshit the team is imagining, we can implement it right away. Then, as creators, we need to start running the experiment on what it does culturally and socially.

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