Issue link: http://digital.copcomm.com/i/765720
I knew that Doctor Strange was a film that Marvel Studios had been wanting to make for a long time, and that their intention was to create a very far- reaching, ambitious and distinctive movie. I felt extremely fortunate—and certainly more than a bit nervous— being asked to design the project. Meeting with director Scott Derrickson for the first time in London, a large part of our conversation centered around the kaleidoscopic, trippy artwork of Steve Ditko and how this would set the tone for the film. Scott was absolutely set on this, and that was really the steppingstone to the fantastic journey that lay ahead. So the concept work started, supported by the most brilliant team of Illustrators, as we all embarked on visualizing the magical, bizarre, extra- dimensional and earthly worlds of Doctor Strange. The Illustrators worked tirelessly for many months, exploring so many paths and directions. The real-world environments consisted mainly of the Sanctum Sanctorum, Doctor Strange's home in Greenwich Village, his workplace inside a complex New York City neurosurgery unit, the ancient temples of Kamar- Taj in Kathmandu, and the bustling streets of Kowloon in Hong Kong. DOCTOR DOCTOR DOCTOR STRANGE STRANGE STRANGE STRANGE STRANGE STRANGE by Charles Wood, Production Designer