THE PRISONER

Production Design by Michael Pickwoad

The design brief for this psychological drama was both challenging and immensely
rewarding, giving the opportunity to design and build some extensive sets in remarkable places. The series takes on the idea of the original series and develops it into a
more continuous story.

The Solar Caf was conceived as a joyous meeting place for the village and its design was drawn
from the classic American diner, a pavilion styled Tea House and Bistro bar but given a German
twist with its roof and entrance so it would blend with the Swakopmund location. Taking the cue
from the local buildings, virtually no mouldings were used, reducing profiles to square corners,
which helped give the simplified village look.

The Hall of Palais 2, where 2 lives, required a befitting grandeur that was not readily identifiable in order to
promulgate the mythical reality of the Village. The simplicity and authority of early 18th century English baroque
was mixed with Lutyens New Delhi and a dash of Ceausescus Peoples Palace in Bucharest to confuse historical
reference.

Designed to be both entertainingly grand and large, (66ft long by 26ft wide and 19ft tall) the repetition of the
vaulting and the comparatively simple finish, a stone effect paint called Coprox that could be sprayed, helped to
belie the budget. This set was converted to a grand study, a large bedroom, part of the Palais gardens and finally
the cellars.

The Village vehicles were designed to be generically of the 1960s, in line with the Village
interiors, and to look as how you would imagine a car, tow-truck or bus to be in such a situation.

The vehicles have a simple, child-like charm so as to comply with the apparent innocence of the Village.
Their predominately dull red colour compliments the Village colouring and adds to the overall sense of conformity.

The arch at the top of the steps was built as a grand entrance to the Forum and is in a German Baroque style to
blend with the prevailing local style. The colours reflect those of the local buildings which were both dramatic in
their boldness and subtle in their toning. The brick red colour was very prevalent and became known as Village
Red. The wall, with arch with the urn, was necessary to cover an eccentrically shaped and extremely dull grey
face brick (typically African) wall that fronted the amphitheatre.

The Village logo was derived from the top of Olbrichs Wedding Tower in Darmstadt, and
designed to connect the Jugenstil period of Swakopmund with the Art Deco skyscrapers of
New York.