ADG Perspective

January-February 2018

Issue link: http://digital.copcomm.com/i/916056

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102 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 8 by Bradley Rubin, Art Director L.A. ALLEGORY: "In a world…" is the beginning of many feature films and television shows that we all, in the Art Department, strive to work on and visualize. This was one of those projects. Bright is set in an alternate, BUILDING THE WORLD OF B R I G H T present-day Los Angeles and "in a world" where humans coexist with different species [think races] —orcs, elves, ogres, dwarves, fairies, etc. The story follows two cops from very different backgrounds (Ward, a human played by Will Smith, and Jakoby, an orc played by Joel Edgerton) who embark on a routine night patrol that will ultimately alter the future of their world as they know it. Battling personal differences, as well as an onslaught of enemies, they must work together to protect a thought-to-be-forgotten relic, which in the wrong hands could destroy everything. The creative visual journey began with the Production Designer Andrew Menzies, collaborating with the director David Ayer, and the cinematographer Roman Vasyanov. Throughout this collaborative experience, it was clear the project was going to be a social commentary on a few topics, including the growing divide between classes, the militarization of police and corporate entities, and the racial tensions of police departments and the communities they serve (including internal racial tensions). In addition, the writer Max Landis provided an extensive breakdown and back story for each species. This information, and an unusual (i.e., appropriate) amount of preproduction time on a project of this scale, A. Bus bench advertisement, created by graphic designer Simon Jones. Advertisements and street signs were used to showcase each culture. B. Art Director Bradley Rubin visualized the comparison of different species, using info graphics. A B

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