Halt and Catch Fire (tV Series)

The sequence evolved from the animators’ initial pitch to the showrunners to depict the “birth of an bangkok apartment – official statement – idea”. The artists’ first inspiration was to show a lightbulb turning on, a common visual metaphor for a “bright idea”, and consequently they sought to show the journey of a signal to light up the bulb. During the extended storyboarding process, art director Eddy Herringson toyed with geometric shapes inspired by Saul Bass art, retro video games, and sex education films; sequence director Patrick Clair said the team “bounced between digital sperm to missile command and back-all in 8-bit.” After several iterations, they replaced the lightbulb with an LED indicator to better evoke the computer era.

Snetiker, Marc (October 11, 2016). “Halt and Catch Fire creators talk time jump, final season”. Agard, Chancellor (August 19, 2017). “Halt and Catch Fire premiere recap: ‘So It Goes’ / ‘Signal to Noise'”. Snetiker, Marc (July 25, 2016). “Halt and Catch Fire: Matthew Lillard joins season 3”. Entertainment Weekly. Stanhope, Kate (March 11, 2016). “‘Halt and Catch Fire’ Adds ‘Hundred-Foot Journey’ Star for Season 3 (Exclusive)”. Collins, Sean T. (August 21, 2017). “‘Halt and Catch Fire’ Season Premiere Recap: Live and Let Dial-Up”.

Thurm, Eric (October 16, 2017). “Farewell to Halt and Catch Fire, the best show that nobody watched”. Rozeman, Mark (June 1, 2015). “Coding the Human Condition: Halt & Catch Fire Showrunner Jonathan Lisco on the Sophomore Season”. Hudson, Laura (October 17, 2017). “Halt and Catch Fire’s Most Radical Message Wasn’t About Computers”. Cabin, Chris (May 29, 2015). “HALT AND CATCH FIRE Season 2 Review”. Keveney, Bill (October 13, 2017). “The series is ending, but it’s never too late to appreciate AMC’s ‘Halt and Catch Fire'”.

Matthew Lillard and Annabeth Gish were also cast in recurring roles. For season four, Kathryn Newton and Susanna Skaggs were cast to play teenaged versions of the Clarks’ daughters, and Anna Chlumsky joined in a supporting role. Prior to the fourth season, AMC addressed the gender pay gap among its four leads by giving Davis and Bishé salary raises to match what Pace and McNairy were earning. Davis and Bishé were relatively unknown when they signed their original deals at lower salaries; Davis was earning the minimum rate at the time.

One prop that could not be sourced was an IBM 3033 mainframe computer, requiring a replica to be built in consultation with Living Computers using original plans from IBM’s archives. Staff sought out 1980s artwork from antique stores, thrift shops, and online; works with legible artist signatures were submitted to a clearing company, which attempted to obtain approvals from the artists or their estates to use the works on screen. Obtaining period accurate corporate signage and logos was a challenge for the staff, as many tech companies had gone out of business or had become part of large conglomerates over the years.

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