Issue link: https://digital.copcomm.com/i/1413503
The journey starts in the year 10191 on a planet called Caladan. The members of the House of Atreides are preparing to leave their home planet, as the emperor has given them the control of the remote and dangerous planet of Arrakis, where they will be taking charge of spice mining… Or perhaps it actually begins in January 2018, on a snowy day in Montreal. I remember a text message from Denis Villeneuve, asking if I'd like to grab breakfast at one of our favorite spots. I had known Denis since the mid-'90s, when we were part of the same small independent film ommunity. e hadn't seen each other in a while, and I looked forward to catching up. But there would be little of that as he quickly popped a uestion that would define the ourse of my life for the next two years. Dune would beome our fifth ollaboration and our most epi adventure to date. First published in 1965, Frank Herbert's novel Dune has had a maor inuene on generations of artists writers and filmmaers. t had also been enis fantasy proet sine he first dreamed of beoming a film diretor. The fat that he wanted us to collaborate to bring his vision to life was an immense privilege, one that I would not take lightly. I felt a huge responsibility to him, and to the fans. I decided to travel back to the original material and read the book again in order to immerse myself into the world that Frank Herbert had created. The Dune universe is so rich with ideas and details that it was important for me to revisit the roots and rediscover those worlds with the eyes of my inner child, and get a solid grasp on the material before reading the script. y first instints were telling me that we should ground the visual language into realistic settings in order to help the audience believe in the more extraordinary elements. Finding the right balance within a less-is-more, crude and basic approach. rhitetureartshould reet the ultural realities and environmental settings of where the storylines take place. Be true to the nature of the economy of a given culture and vice versa. A. PHOTO OF THE TRAINING ROOM ON CALADAN. THE WIRES RUNNING TO THE PRACTICAL WERE REMOVED IN POST. SET PHOTO. B. HALLWAY IN ATREIDES' CALADAN PALACE. PRODUCTION STILL. C. THE LIBRARY ON CALADAN. SET PHOTO. D. PAUL'S BEDROOM CHAMBER ON ARRAKIS. SET PHOTO. PHOTOS BY CHIABELLA JAMES. A