Lucifer Interviews

Mike Bevis -- Construction Co-ordinator

by @ChangingChanne1

You worked in construction on the show Lucifer; exactly what were you in charge of?

My position was the construction co-ordinator.

What exactly did that entail?

My responsibility is to co-ordinate and budget for the paint, greens and construction side of the actual production. That involves co-ordinating with the art department, production designer to help create their visions, and then be able to put a dollar cost to it as well as co-ordinate the actual execution of it.

Is that for standing sets or …?

For everything.

What would be the largest project that you worked on for Lucifer?

The largest project? Obviously the initial build – the beginning of each season. We did the two seasons here (in Vancouver), and then the third season they went down to LA. The first season was the biggest because we had to do the standing sets for Lux, Lucifer’s penthouse, Chloe’s house and Dr. Linda’s office. Then for the second season we built the police station standing set.

It was well over a million and a half, or something like that, for the first year and about $600,000 for the second year. It was a pretty substantial financial commitment. They did the pilot down in LA – it used like they utilized mostly locations first. Lux was based upon a bar down in LA. So we basically reproduced our own version of it – it was similar, but not to scale.

I was just talking to Steve Geaghan …

Yes, Steve was my boss.

I was just speaking with him about how difficult it was to make Vancouver look like LA.

I’ve actually talked with Steve about that … obviously when we heard Lucifer was going to LA we were very sad to see it go. We had a wonderful family going – with regard to the entire production company. We create our own LA environment – we control the lights, whereas I think in LA because – especially when you’re outside – it’s all light, it’s all sun. They have to dial it down – we can bring it up. I think, honestly speaking, ours tend to be a bit richer looking in colours.

Because you can play with it more. How did you get involved in doing construction for film?

I started out in theatre in Victoria. Just through networking, through a friend of mine, I ended up coming over to Vancouver, just more on a whim, and ended up staying here. I basically started in the labour position – basically sweeping up and unloading trucks – and have worked my way up to the construction co-ordinator.

What’s one little-known fact about Lucifer that you’d like to share?

I just have to allude to the people that we had working the series. It was the same crew that did both Seasons 1 and 2; and it was absolutely a joy to work with everybody. It was just one of those things where we’re all sitting on the survey bus and everybody’s laughing and having a great time talking. But also, very serious about their part of the job. There was no, “I’m better than you,” attitude, there were no egos or anything like that. It was a really wonderful situation.

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