Inside the Whale: How Production Designer Ramsey Avery Crafted the Realistic "Whalefall" Set

Ramsey Avery, the visionary production designer behind the film 'Whalefall,' embarked on an extraordinary journey to bring the internal world of a whale to life on screen. His innovative use of everyday materials and a deep commitment to scientific accuracy resulted in a truly immersive and claustrophobic environment, central to the film's intense narrative. This dedication to practical effects not only enhanced the realism of the movie but also presented unique challenges that Avery and his team ingeniously overcame.

The Art of Immersion: Crafting the Whale's Interior for 'Whalefall'

On October 17, 2026, the cinematic world was introduced to 'Whalefall,' a thrilling adventure film that places its protagonist, Jay (portrayed by Austin Abrams), within the confines of a massive whale. The film's production designer, Ramsey Avery, faced the formidable task of constructing the creature's internal organs with an astonishing level of detail and functionality. Avery's process began with rigorous scientific investigation, including the study of sperm whale autopsy photographs and close collaboration with biomedical research scientist Dr. Joy Reidenberg. This initial research, conducted in the early hours of the morning, provided crucial insights into the whale's anatomy, even though it offered limited understanding of a living whale's dynamic internal environment underwater.

To overcome this, Avery delved into footage from cameras exploring the digestive systems of smaller marine mammals like orcas, dolphins, and porpoises, observing how their interiors behaved when filled with fluids and in motion. This comprehensive study informed the design of the primary stomach set, affectionately dubbed "stomach number one," where Jay spends the majority of his perilous journey. Director Brian Duffield's insistence on in-water filming led to the construction of an impressive 60-foot-wide, 20-foot-deep tank. Within this tank, a 30-foot section of the whale's head was installed, complete with an articulating mouth capable of opening, closing, and moving forward and backward.

Avery collaborated closely with the stunt team, rigging specialists, and cinematographer Aaron Morton to ensure the practical effects were seamlessly integrated. The whale's tongue, a substantial physical construct at the back of its throat, was also designed to move dynamically. For the stomach's pliable yet robust structure, Avery ingeniously utilized upholstery foam, varying in thickness from two to three inches. The interior's visceral appearance was achieved with multiple layers of translucent, colored silicone, giving it a slimy, organic texture. The exterior was reinforced with heavy-duty canvas and glue, balancing rigidity with necessary flexibility, ultimately making the stomach appear to pulsate with life. Although some digital enhancements were added by Weta Workshop, the practical set was sturdy enough to endure six weeks of filming with actors, water, and camera equipment. The claustrophobic atmosphere within the stomach, approximately eight feet wide and six feet tall when fully expanded but often compressing to the size of a sleeping bag, was a deliberate design choice, allowing just enough space for Jay and a few cameras.

To simulate the whale's movement, Avery devised a series of innovative rigs. Initial ideas involving pistons and ropes were discarded due to limitations in mimicking complex motions like rising and diving. Instead, four distinct stomach sets, each mounted on a different rig, were employed. The main stomach rig provided continuous motion, simulating the whale's swimming, while a specialized spinning rig recreated the disorienting churn of the whale's movements. The film also features a sequence where Jay encounters the whale's stomach bile. Avery based the internal color palette on real whale anatomy: white for the back of the throat, muscular white with pink tones for the chewing stomach, and pink with red acids for the second stomach. These colors were also carefully chosen to reflect Jay's deteriorating emotional state, transitioning from relative calm to despair.

The creation of the viscous stomach bile posed another significant challenge. Duffield wanted it to be a physically demanding obstacle for Jay. The team achieved this by mixing methyl cellulose, a thickening agent, with various additives to produce an oatmeal-like consistency. Silicone fragments were added to simulate floating debris, and bubble ports created the illusion of corrosive acids. This entire setup was placed on a large teeter-totter rig, generating powerful sloshing movements that convincingly portrayed the whale's dives and the churning of its digestive fluids around Jay.

Ramsey Avery's exceptional work in 'Whalefall' serves as a testament to the power of practical effects and meticulous design in filmmaking. His dedication to realism, combined with creative problem-solving, allowed the audience to experience the terrifying and awe-inspiring environment within a whale. This achievement not only elevates the film's narrative intensity but also underscores the importance of artistic ingenuity in bringing fantastical scenarios to vivid life on screen. The film stands as a brilliant example of how innovative production design can transform a story into an unforgettable visceral experience, prompting viewers to consider the profound capabilities of human creativity when confronted with seemingly impossible tasks.