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Lucifer's production designer had to create heaven itself for the Netflix show
Creating God's Throne Room takes more than just a day.
The sixth and final season of Lucifer dropped on the streaming platform this September, and fans of the show got a heartfelt albeit tearful ending to the series. Fans also got a glimpse of some exciting set designs in those last 10 episodes — environments made all the more impressive given the cast and crew shot the final season under strict COVID protocols.
SYFY WIRE talked with the show's production designer Alex Hajdu about creating some of the memorable sets for the final season, including that celestially impressive throne room and the incendiary backdrop for that memorable scene between Lucifer (Tom Ellis) and his daughter, Rory (Brianna Hildebrand).
*Warning! Spoilers for Season 6 of Lucifer lie ahead.*
Over the course of Lucifer's last 10 episodes, we follow the devil from Los Angeles' legendary Magic Castle to a dark and dismal warehouse and ultimately, to heaven itself. Hajdu, who has been on the show since the beginning, was tasked for creating sets for all of these locales, each of which had its own challenges.
The first episode, for example, was partially shot at the Magic Castle in Hollywood. The scenes of Lucifer and Chloe (Lauren German) walking through the halls were on location. Hajdu, however, created in a studio the actual room where the murder took place. One of the key things he focused on there was to make sure it felt like a room that was in the actual Magic Castle building. "I took my cue from the existing stage facade, which is a Victorian design," he told SYFY WIRE.
Hajdu also added in a unique addition to the space — a 1920s pipe organ that doubled as the entrance to a secret passage. "I didn't want another bookcase for the secret entrance," he explained. "It came into my head that it would be cool and it would make sense to have something like a pipe organ — based on the look of the [existing Castle theater], it feels like a silent movie theater."
Hajdu found an actual organ from the Rialto Theater in Pasadena and was able to rent it. The organ didn't come with the pipes, however, so his crew had to make them out of PVC.
Pipe organs aside, the last few episodes of the series had some of the most memorable sets of the show. In the penultimate episode, Chloe and Lucifer rush to rescue their daughter through a warehouse full of shipping containers and, eventually, fire. "I wanted the image of a wall of fire behind Lucifer at some point as he comes to rescue Rory," Hajdu said. "I came up with this idea of these wire industrial baskets that are used for holding scrap metal and various things … we were able to stack them to create whatever kind of background we wanted."
Last but not least, there was God's throne room, where we saw Amenadiel (D. B. Woodside) on the throne in his new role as the Almighty. Hajdu's inspiration for the space stemmed from seeing Gaudi's Sagrada Familia in Barcelona. "Those tall columns [of the cathedral] and the light coming through gave me my inspiration," he said.
Hajdu also put down a mirror floor in the space to give the set more depth but also to create the sense of frozen water. "In my concept, I have a column, like a waterfall or a geyser, with the throne room on top," he explained. "It looks like water is falling down on all sides but the surface is frozen, so they are literally walking on water."
And while each episode had new projects for Hajdu to work on and build, the biggest thing he took away from working on Lucifer was the team he worked with. "The synergy that occurred with all the creative people involved, and the freedom that we were all given by [showrunners] Ildy Modrovich and Joe Henderson to explore ideas — they didn't say it has to be this and it has to be that, they just let us come up with our contributions," he said. "It was very supportive and positive. And I feel very fortunate to have been a part of it."
All six seasons of Lucifer are now streaming on Netflix.