{"id":9395,"date":"2017-10-27T03:40:28","date_gmt":"2017-10-27T01:40:28","guid":{"rendered":"http:\/\/gdrew.beeweb-green.io\/?p=9395"},"modified":"2026-04-17T07:57:28","modified_gmt":"2026-04-17T05:57:28","slug":"andreas-bin","status":"publish","type":"nyhet","link":"https:\/\/subtopia.se\/en\/nyhet\/andreas-bin\/","title":{"rendered":"Andreas Bin"},"content":{"rendered":"\n
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Andreas Bin<\/h1><\/div>\n<\/div>\n\n\n\n
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The fact that the Dr\u00f6mpyramiden game show on TV4 is shot in our facilities at Subtopia is a well-guarded secret. Between rigging and takes, we took an opportunity to ask for some tips from the star scenographer Andreas Bini, who created the magical set with the brightly illuminated boxes that are seen on the show.<\/strong><\/p>\n\n\n\n

How did you choose your occupation?<\/strong>
<\/em>
I\u2019m self-taught, so I never studied anything. I\u2019ve just been very interested in scenography and design since I was a kid. I had to take the long route to get here. I started out as a construction carpenter, and did that for several years. Next, I spent six or seven years working as a set carpenter at the Backa Teater theatre in Gothenburg. That was where I discovered scenography. Although I had heard of it before, of course, that was where I began thinking \u201cYes!\u201d In my role as a carpenter, I saw the scenographers work, and I thought to myself: \u201cI can do that better!\u201d<\/p>\n\n\n\n

Are there any benefits to being self-taught?<\/strong><\/p>\n\n\n\n

I always tell people that my advantage is that I\u2019m not constricted by the norms and rules they teach you at school; I don\u2019t carry a bunch of \u201cthou shalts\u201d or \u201cyou musts\u201d around. Instead, I take a few steps back and decide for myself if it feels right or not. And of course, it always helps to have mastered the design software you use. I hardly ever use pen and paper, I usually work in 3D software. This allows me to visualise the end result and show it to my customers before we begin construction.<\/p>\n\n\n\n

Could you tell us what makes for optimal working conditions for a scenographer?<\/strong><\/p>\n\n\n\n

Good advance planning and a good budget. That\u2019s how it used to be. Television, for instance, has changed a lot since the various streaming services started to appear. There\u2019s not as much money anymore, and the networks aren\u2019t sure what will be successful or not, so they end up deciding what to include in their programming at a pretty late stage. This has caused my timetables to shrink by a great deal. And fast is never cheap, so this doesn\u2019t go well with the limited budgets.<\/p>\n\n\n\n

What\u2019s the difference between working for TV and working for theatre?<\/strong><\/p>\n\n\n\n

Theatre allows more room for change and thinking along the way. I\u2019m working on a musical that\u2019s set to open in August 2018, and while we haven\u2019t begun sketching it yet, the process has already begun. When you work for TV, the whole job can be a matter of just two months. That\u2019s a very short timetable for a scenographer, so you don\u2019t get a chance to try different options out. Construction alone takes three to four weeks. What\u2019s the coolest experience you\u2019ve had in your career? Oh, there\u2019s several! I worked at Backa Teater, and I shared a lot of great moments with exciting personalities there. But I also remember the early stages of my career in TV scenography. A friend of mine brought me along to the shooting of Robinson, the Swedish version of Survivor. It was so cool the first time we arrived on those islands! Getting to visit places where humans don\u2019t usually go. There were so many moments at Robinson that led me to where I am today.<\/p>\n\n\n\n

Oh! Also, shaking hands with David Bowie at Bingolotto! I was working as an assistant once, on New Year\u2019s Eve, and he was there. That was very cool!<\/p>\n\n\n\n

Is there a magical formula for creating good scenography?<\/strong><\/p>\n\n\n\n

I like to say that when I\u2019m working on big entertainment, a musical scene or something, I want the set to be visible from the moon. I want it to be obvious where the edges of the stage are, and what shape it is. It\u2019s all about communicating simply with the viewer. The stuff I do tends not to be arty-farty TV. I\u2019m not underestimating the viewers either, I\u2019m just aware that they\u2019re not exactly paying attention to the scenography I\u2019ve made. What they want is to figure out the plot, or hear the words the singer is singing. And if I can frame that nicely for them, of course they\u2019ll appreciate that.<\/p>\n\n\n\n

\"dro%cc%88mpyramid_aug_2017_fix_4\"<\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The scenographer responsible for the Dr\u00f6mpyramiden game show: \u201cWhen I\u2019m working
\non big entertainment, I want the set to be visible from the moon!\u201d
\n
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