Issue link: http://digital.copcomm.com/i/929567
Supervising Art Director Chris Lowe describes the view from the Art Department War Room: "The Last Jedi was a curious puzzle, constantly shape-changing and evolving to new schedule/stage configurations as we patiently probed the implications of its multiple options. The dependable regularity of access to Rian and Ram in the Art Department allowed Rick and myself the reality check of knowing that the 'Design Juggernaut' was heading in the right direction. Our construction manager Steve Bohan was regularly circling the War Room to gain any build advantage he could. By the time we started shooting the first incarnation of sets in mid-February, the rest were fully designed, drafted and prebuilt for the next tranche to be stood up as soon as the old was shot and struck. The third and final layer of sets to cover our fifteen stages was the most challenging—Rick and I were pulling out every design trick in the book to work with partial standing sets for quicker turnarounds. A close look would reveal a Mirror Cave, Jedi Temple, Crait Mine and Boulder Cave all standing in the same soundstage. A daily breakfast in first Assistant Director Jamie Christopher's trailer could radically alter a schedule in our favour or to our detriment! It A. Resistance trenches. Art by James Clyne. Modeled in Modo and painted in Photoshop. B. Mineral speeders on Planet Crait. Art by Kevin Jenkins. Modeled in Modo and painted in Photoshop. C. Resistance trenches. Set photo by Ben Munro. D. Crashed mineral speeder. Set photo by Ben Munro. E. The Jedi Temple ledge. Set model maquette, sculpted by Jonny Moore. F. The Jedi Temple. Set schematic modeled in SketchUp by Dean Clegg and Tim Browning. G. The Jedi Temple ledge. Set photo by Ben Munro. H. The Jedi Temple. Set photo by Ben Munro. I. The Mirror Cave. Art by Justin Sweet. Modeled in Modo and painted in Photoshop. A B C D