Issue link: http://digital.copcomm.com/i/765720
40 P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 7 The script by Jon Spaihts was impressive: there were no monsters or aliens, no weapons or murder victims; it was a narrative that focused on life, death, relationships and moral choices—a rare and exciting challenge. In many ways it reminded me of lesser known science fiction classics from the '70s like Silent Running. Director Morten Tyldum drove the excitement and passion for the material, and he wanted something different. The descriptions about the ship and its interiors were vague in the script which left the design possibilities wide open. For Morten, the story to be told was of an epic journey experienced by two individuals from different walks of life. These two passengers are in suspended animation and accidentally wake after only thirty years into a 120-year journey across space. Their destination is Homestead 2, a distant utopian planet which they and 4,998 other passengers hope to reach and make a new start. During my first meeting with Morten, I drew a few sketches that intrigued him about an overall direction for the ship's design, a system for the massive hibernation chambers as well as a concept for the color and mood of the various interiors. From that point I assembled a core team of Concept Artists and Set Designers to move these ideas forward and develop them into solid and detailed designs. Along with Supervising Art Director David Lazan, and lead Art Director Luke Freeborn, I was lucky to assemble a remarkable group of equally enthusiastic creators. There was a ten-week window to put a design presentation together before relocating to the Pinewood Studios in Atlanta, and then a further ten weeks till the first day of shooting. It was a daunting prospect given the scope of the sets and Morten's high expectations. Above, clockwise from top left: Igor Knezevic worked tirelessly to create this detailed 3D Studio Max asset for Art Department design use which was also passed on to the visual effects artists for surface texture and color that would eventually be used for the final composite shots. This pencil drawing in a sketchbook by Guy H. Dyas shows the original concept for the Avalon, three separate hulls and a central spine and propulsion unit. Elevators with seat belts would carry passengers across vast distances with diminishing gravity at the center and gradually restored gravity as you approach the other side. The scale and unsettling isolation of Jim and Aurora's situation is captured in this illustration of the swimming pool's domed window by Laurent Ben- Mimoun. Another digital illustration by Mr. Ben-Mimoun of the Avalon exterior, used for presentation of the ship's concept.