Short-Format, Live-Action Series: 10,000 Days
Episode: Salvation or Destruction
You have to create the apocalypse, where a comet has struck the Earth 10,000 days ago, and a global ice age ensues. Scattered bands of humans have survived. How do you portray this world without the resources of Roland Emmerich, and on a screen the size of a tablet, or even a phone? “10,000 Days” production designer Mimi Gramatky’s elegant design solution is to work as a miniaturist and evoke this world through telling details. No doubt relying on her past experience in visual effects, she suggests the wider cataclysm with well-chosen digital matte paintings. Lives here are utilitarian, patchwork, based on survival: a dwelling filled with hydroponic plants, shelves made from recycled piping. But characters are also sketched-in through Gramatky’s insightful choice of props, such as a thoughtful selection of old bottles and jars for herbal medicines and the hand-painted notations on an old wall-map. Locations are suggested with economy, like the giant backlit fan to evoke an underground bunker, and digital backgrounds that conjure the frozen wastes outside.
Bridgland’s credits include “Serena” and “RocknRolla.”