ADG Perspective

Along with the development of these costumes, the co-director of the movie, Christophe Lourdelet, worked with Garth Jennings on the making of the key elements of the stage sets and their arrangement for the staging of the show. Christophe tremendously assisted the Art Department by helping to define the technical aspect of the making of the dierent stage sets and how to credibly arrange the transition from one set to another with all its theatrical machinery. he show had already been introduced in the first third of the movie by Buster Moon using a pop- up book, like children's books with cut-out and three-dimensional pictures. Each page punctuates a key moment of the show. The book's visuals, without unveiling the surprise of the final show, foreshadows the beauty, surprise and magic that will be the dramatic thread of the show. The show plays out on four distinct planets, in the interstellar space and Rosita and Gunter's spaceship. For that one, a reference to Star Trek wasn't a stretch. Each planet has a strong visual identity, built around its theme: Planet of War, Planet of Joy, Planet of Love and Planet of Despair. For each planet, tremendous work was done on the materials and their reactions to the theatrical stage lighting. For the Planet of War, there was a cut-out silhouette of a military fort, partly destroyed by war, using linear and aggressive shapes. This leads to the arena, where the fight between laus and Johnny will happen, the ring of fire being the key visual moment of this set. The Planet of Joy plays a lot with the colorful use of lighting. For this set, I was inspired by the light sculptures created by the Japanese artist Yayoi usama, for their colorful and luminous aspect. This set has a touch of extravagance with its sculptures of stacked stones and the repetition of round spots on the oor and on the rocks. All the elements were supposed to be backlit from inside and, this way, create a feeling of festive magic. The second visual high point is when the tarsiers perform a tap dance. A simple and credible theatrical mechanism was needed to allow the audience to see the highlights of animation. The final with the luminous pice monte of tarsiers played with the transparency and the lighting of the surprising pyramid. A. CLEMENT GRISELAIN. KEY LIGHT RESEARCH FOR THE CLIMAX MOMENT OF THE JOHNNY SHOW. DIGITAL ART B. DESIGN BY FABIEN GOEAU. DIGITAL ART. COLOR DONE BY SEBASTIEN GUICHARD. COLOR AND DESIGN RESEARCH FOR THE CRYSTAL BIG THEATER. C. & D. CHARLOTTE HUTCHINSON.DRAWING. RESEARCH DESIGN FOR THE POP-UP BOOK. DIGITAL ART. THESE DRAWINGS WERE BUILT BY CHARLOTTE, AS WELL IN A ROUGH 3D MOCK UP TO MAKE SURE THAT THE DIFFERENT PARTS OF IT COULD UNFOLD IN A LOGICAL AND BELIEVABLE WAY. E. CLEMENT GRISELAIN. PAINTING. COLOR STUDY FOR THE CLIMAX MOMENT OF THE PLANET OF DESPAIR SHOW WITH CALLOWAY AND ASH. DIGITAL ART. A C D B

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