Issue link: https://digital.copcomm.com/i/1196709
Bergoglio's young years. The Junta's terror of the '70s is seen through the faded Kodachrome tones. The life of Bergoglio presents bare interiors contrasting with the dramatic Argentinian landscapes. Enhancing the particular beauty of the film's locations by adding only the essential elements of the storytelling was the challenge. I wanted the work on the sets to be invisible. The story is taking the viewer through his fundamental questioning. Truth was essential. Both Mark and I felt we couldn't indulge in visual creation nor a stylistic aesthetic. The work of set decoration around Pope Benedict was more present. This Pope needed an expressive background. atinger is a man living in a heavy decorum. This Pope likes his status and its attributes: the luxury of the limousines, the silk socks, the furs and the jewels. He lives behind the impenetrable walls of the Vatican, and like the Vatican, his image is unquestionable and appears immovable. eavy dark antiques, magnificent sacred artworks, gilded crucifix and embroidered linen create the illustration of his world, which is far from the humble surroundings of Bergoglio's life. The set decoration department hunted the plush antique dealers and collections of sacred art in Italy to find the precise pieces that atinger would have chosen. In contrast, we visited the charity shops and ea markets of uenos Aires for Bergoglio's furniture and personal belongings. We tried nevertheless to give a sense of modern life in these antique palazzi's rooms by adding the mundane objects surrounding even the Pope these days: electronic devices, chargers, contemporary lamps and exercise bikes. eality, again. Within Castel Gandolfo's maze of the rich corridors and ornate rooms, there's a place that displays an interesting aspect of atinger's personality the music room. A personal space, organised to oer peace and comfort to an elderly man. A basic piano, a TV to watch Rex, some music, a mess of books, old family photos, and fresh roses from the E. DESIGN ELEVATIONS FOR THE SISTINE ALTAR. F. THE COMPLETED SISTINE ALTAR. G. THE COMPLETED SISTINE CANTORIA. H. THE ENTRANCE TO THE SISTINE CHAPEL SET. E F G H