Issue link: https://digital.copcomm.com/i/1470106
N I G H T T E E T H | P E R S P E C T I V E 1 0 5 British director Adam Randall is the person responsible for inviting me to become part of this cinematic team, one that would endeavor to paint a neo-noir world that would be appealing without being too dark or distracting. Eben Bolter, another Brit, was the cinematographer on Night Teeth, and what followed were conversations between the three of us regarding the use of neon lighting in this universe. I actually quite like the appeal of neon lighting; it creates magical and moody imagery. (Magical and moody pertains to vampiric tales.) There is something ever so beautiful about bursts of primary colours in electric hues. Having interior and exterior locations bathed in neon light would help produce an intoxicating modern movie experience. This world of neon imagery would contrast with the greyer world of Benny's East Los Angeles. He experiences the craziest night of his short existence; beyond anything he could ever believe would happen to him. In a way, not only are the events that occur terrifying for Benny, they are also surreal, and the bright lighting helps create this unnerving atmosphere. There was a complex web of ideas on the table, and how they were assembled and consumed, would depend on the structural framework . The high-contrast lighting and shadows would augment the drama and the vibrant colours would inspire the incredible energy. After the scouts had been accomplished, I went to Europe to continue with concepts, and worked once again with Jonathan McGonnell, who had also been the brilliant concept illustrator on Gretel and Hansel. I like to combine elements that do not necessarily belong together in order to give the film an unexpected look. I feel the environments traveled through as the story unfolds are important to building each character's role. A designer can help achieve this by dwarfing them B. LAUNDROMAT SET CREATED AND BUILT INTO IN AN EXISTING EMPTY LOCATION IN LOS ANGELES. ILLUSTRATION BY JONATHAN MCGONNELL FINISHED IN PHOTOSHOP. WALL MURAL CREATED AND PAINTED BY ALEXANDER STOLIN. C. BLOOD COLLECTION ROOM. ILLUSTRATION BY JONATHAN MCGONNELL. SET BUILT ON STAGE IN NEW ORLEANS. B C