ADG Perspective

January-February 2021

Issue link: https://digital.copcomm.com/i/1332040

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An adaptation of the Man Booker-prize winning novel, the epic drama The Luminaries tells the 19th-century tale of love, murder and revenge, as men and women travel across the world to make their fortunes on the wild West Coast of New Zealand's South Island. Set in the height of New Zealand's 1860s gold rush, two young adventurers, Anna Wetherell (Eve Hewson) and Emery Staines (Himesh Patel), meet on the last day of their voyage to New Zealand. The Production Design and visual narrative for the screen adaptation of Eleanor Catton's mysterious masterpiece evolved from the same precise, astrological principles as the novel and begins with the idea of a 'living zodiac.' Just as each character is associated with a particular sign of the zodiac, the Sun and the Moon, so too, is the world they inhabit. During the initial research and development phase, set decorator Daniel Birt and I gathered over eight thousand images as the basis for each set and character environment. Our research took us on a journey from the goldfi elds of California, Africa, Alaska, British Columbia to Victoria, Australia and back to Aotearoa, New Zealand. Each place held signifi cance for us in terms of the design, as 1860s Hokitika was fi lled with prospectors from cultures around the globe. We took inspiration from contemporary photography, art and nature to create a unique tone, style and palette that could be described as 'New Zealand Gothic' in the tradition of Vincent Ward's Vigil and Jane Campion's The Piano. A year-long collaboration led to the creation of ninety-six individual sets, constructed and decorated in their entirety. It brought together the skill and talent of some 170-plus Art Department personnel, all dedicated to the creation of this celebrated New Zealand story. They included Set Designers, engineers, blacksmiths, leather workers, carpenters, Scenic Artists, plasterers, sculptors, buyers, set dressers, prop makers, Graphic Artists, Model Makers, greenspeople, landscapers, textile designers and fl oral artists. Led by Supervising Art Director Gary Mackay, Art Directors Alistair Kay, Greg Allison and Assistant Art Director Jenny Hitchcock, with the exception of four international crew, the Art Department were from the local New Zealand fi lm industry. I was fortunate to have Fraser Harvey as construction coordinator and two exceptional scenic chargehands: Australian Matt Connors and New Zealander Wade Hannett. Roger Allan was key greensman. This was a challenging project to realize given the period, scale and detail the story demanded. I A. DUNEDIN STREETS. CONCEPT ILLUSTRATION BY FILIPPO VALSECCHI. B. DUNEDIN STREETS, BUILT OVER CHRISTMAS, AND COMPLETED WITHIN 3 WEEKS IN THE CAR PARK NEXT TO THE PRODUCTION OFFICE. SET PHOTO. C. THE HOUSE OF MANY WISHES. CONSTRUCTION ELEVATIONS. D. DUNEDIN STREETS IN PROGRESS. SET PHOTO. E. DUNEDIN STREETS. SET PHOTO. D E C

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