My job is sort of overseeing everything. Crispian Sallis, who I brought in to decorate, is a terrific guy, and he has worked real hard. He's got a gang together of four really intense people that just worked on machines and science tables, the chairs, and also the things for the time machine, the chrysallis. So I would draw it up or an idea, and then Crispian would go and make something like that or improve it, and every time I'd turn around he made it better. Those guys would always just improve, improve, improve, and Terry would come in while we were working and Terry would have suggestions, so everything became like a collaborative effort in three dimensions.
Terry believes in doing a lot of stuff in-camera, too.
He tries to do a lot of effects in-camera, which is you know the old way, it's still a really great way to work, so we try to cheat all the time. I've been using mirrors nonstop in this movie to make the sets look twice as big. This show I did probably five or six forced perspective, maybe even more. There's forced perspective in this set. This set is tiny, only 50 feet by 25, that why I have the top curving like that, so that it actually seems to be higher than it is.