This project was co-produced by WHITE MONKEY DESIGN and PROPOLOGY. Due to the physical scale of the build (and time constraints) design and construction activities were shared by both companies at the request of the ARROW Prop Department.
The "Fake" Bomb - ARROW: Episode 607
A thermobaric bomb is currently the world's most powerful, non-nuclear, explosive device. As scripted however, this particular example is a non-functional ruse. |
The "Real" Bomb - ARROW: Episodes 610 and 612
In a subsequent episode, the thermobaric bomb reappears... albeit, looking somewhat different. In this scenario, the bomb is now "REAL", and must be dealt with in the most decisive and heroic way possible! |
Background
As originally written, this prop was intended to fulfill a relatively minor story point in episode 607. For this reason, Production was determined not to spend a lot of money on, what was ostensibly, a "throw-away" prop.
To reduce cost, this project would have to be (for the most part) an amalgam of suitable "found-objects" from existing shop inventory. At the time however, no one knew that it was to become the focal point of a three episode story-arc.
To reduce cost, this project would have to be (for the most part) an amalgam of suitable "found-objects" from existing shop inventory. At the time however, no one knew that it was to become the focal point of a three episode story-arc.
Episode 607: "Fake Bomb"
Episode 610: "Real Bomb"
While the previous iteration of the bomb was a "fake", this one was supposed to be a functional version... the only real difference being, the rerouting of the external cables, and changing them from black to multicolor. Incidentally, the ARROW Prop Department dressed the bomb onto a rolling cart, that was originally built to carry a "Nuclear Bomb" in a previous episode.
Episode 612: "Real Bomb"
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Design & Construction Process
by Richard Molnar
"From the start, Prop Master, Ken Hawryliw, knew that this particular iteration of bomb would have to be BIG and MENACING. To that end, he submitted the image below to Production for approval. It was not intended to represent the final design, but rather, to establish the "design language" that we would pursue."
Rendering of a 1940s era Atomic Bomb
"Upon seeing this, I realized that there were commercially available septic tanks that could serve as the starting basis of the build. One particular variation possessed many of the necessary design cues, and scaled-out appropriately. It also had a solid structure on which "detail-items" could be securely fastened (see below)."
"Once this basic concept had been approved, the chosen septic tank was procured and delivered to WHITE MONKEY DESIGN. There, company head, Booth Milton, and I, would begin to evaluate what was necessary to realize the proposed concept."
"Our first concern, was that painting the tank would be difficult (and would probably be easily scratched, or flake off) as the tank was made entirely of polyethylene plastic... a material notorious for its poor affinity to being painted. We quickly concluded that a better result could be achieved by applying "car-wrap" adhesive-vinyl instead of paint."
"That issue addressed, we were then able to start picking suitable detail-items from our respective shop inventories in order to begin dressing the bomb casing. The first item chosen was a beautiful piece from Booth's inventory that would become the most prominent feature of the finished prop.
It looked terrific mounted horizontally, at the front end of the bomb casing. Not really knowing what to call this item during discussion, we ended up referring to it as "THE DINGUS".
It looked terrific mounted horizontally, at the front end of the bomb casing. Not really knowing what to call this item during discussion, we ended up referring to it as "THE DINGUS".
The rest of the detailing went rather smoothly. Each time we'd reach a certain level of progress, we'd fire off a photo to Ken Hawryliw to make sure he liked the direction we were going."
"It was fun to collaborate with WHITE MONKEY'S Booth Milton and his talented crew. It's often mutually beneficial to work closely with another shop, as there is always something to be learned by observing the methodology of your fellow creatives."