Issue link: https://digital.copcomm.com/i/1449234
Crystal is a very dual character: white-haired wearing black, his charming smile can quickly turn into a threatening look. I approached his professional habitat with this same contrast in mind: The interior architecture goes from an unwelcoming coldness and austerity to a baroque decor rich in gilded excess. A simple and cold graphic code made of "zebrures" came to dress a large glass wall in the entrance hall. This pattern is found again on the walls of the corridors, in the waiting room and the presentation room. The materials look shiny and cold. Breaking away from this cold design, one arrives at the last oor of the tower at Crystal's oce. Garth had the idea of a large, massive door for the entrance. Rodin's The Gates of Hell served as the inspiration for this massive door made out of gold which, once opened, leads into a vast baroque oce where all the decoration revolves around the character of Crystal. Since a large part of the film takes place in the Crystal hotel, it was essential to give a strong visual identity to this building. his hotel's magnificence had to surpass all the others. On the outside: a huge wall of crystalline glass. The entrance to the hotel is located in a gigantic sculpture of crystal obelisks, which dominates the city. At the beginning, the production considered having a roller coaster at the top of this tower. The idea was later abandoned, but the tower remained. The esplanade in front of the hotel is divided into a mosaic of pools filled by a profusion of Versailles garden-style water jets. D. OLIVIER ADAM. DRAWING. DESIGN RESEARCH FOR MR. CRYSTAL'S OFFICE. DIGITAL ART. E. CLEMENT GRISELAIN. PAINTING-COLOR RESEARCH FOR THE CRYSTAL HOTEL DAYTIME. ARRIVAL OF THE BUSTER TEAM. DIGITAL ART. KEY COLOR USED AS REFERENCE FOR THE LOOK OF THE FINAL SET. D E