Relic Hunter Rules (Part 2) | home
Ed Hanna
The following has been directly lifted from a very nice email written to me by Ed Hanna, who worked as Production Designer for Season 1 & 2 of Relic Hunter.
Thanks for your very kind words. Relic Hunter was some of the best fun I've
had working since I started working in movies. Tia is an exceptionally nice
person, and a real professional and it was a real pleasure to unleash our
imaginations to give her and Christien as challenging an adventure as we
could each week. The show was an Art Department dream come true ‹ well,
maybe the dream version might have had a bigger budget ‹ and I had dream
teams for the two season's I did.
I left the show, with regret, at the end of season two, and I find I tell
two stories most often:
You may recall the wrecked ship in the Alaskan cave in "The Emperor's
Bride". For non-sailors designing and building such a thing in our usual
seven days was a bit daunting, so as always we started with a quick concept
model, whipped together out of the bits of card and foamcor around the
office. And for the massive curved ribs "oh perfect: just hot glue those
Cheesies to the underside of the deck, there that's the concepts". At that
moment the Head Carpenter arrived, said if he didn't start building soon
there'd be no boat at all, and, "That's all I need, I'll build from that.
Thank you." He did, and it looked great. So although Wreck in the Cave was a
set I was very proud of, we in the Art Dept., and now you, know that
underneath it all, the boat was really cheesy.
And you had to be there for the other one: In "Transformation" a climactic
Sydney take-down, that happened in a location mud puddle pleased the
producers so much, they sent the unit back to expand the scene, and to
expand the puddle of course. In fact we went back twice, each time worrying
that autumn leaves, increasingly visible breath, and the now struck and
missing scenery pieces would give us away. And still they wanted more.
Finally, we converted the Cave Lake from "Emperor's Bride" into (or maybe
"Bride's" lake was the conversion. It's hard to remember now, because they
all were conversions, first from a cave, then a jungle cliff-side, then a
Viking tomb,) into a hog-wallow, filled it thigh-deep with warm water-mud,
added some background pigs, and set the cast to rasslin'. It took a whole
long, long day to film the studio mud-fight, and by the end the mud was
cold, and it was hard to tell cast from crew, under the goo. Chilled,
exhausted, and thoroughly disliking the whole concept of a day in the mud
with pigs, nonetheless no one lost the cheerful spirit that made Relic such
a great experience. And there was lots of war's-over hilarity in the
showers.
That was Friday. And we had the mudlake gone and the new set well underway
by Monday morning.
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