Issue link: https://digital.copcomm.com/i/1470106
Budapest for few weeks to help me be properly loyal to Egyptian street culture. We collaborated on all the gra ti and shops, bars, restaurants and bazaar signage. Great Pyramid of Giza and Chamber of the Gods One of my close collaborators is the Illustrator Jason Horley. He can draw anything that comes to my mind, and can create worlds that I imagine and make them look real. When we were designing the hamber of the ods, we tried many diff erent approaches. Scale was the fi rst thing. It needed to feel magnifi cent, imposing, secular and connect historically with the Ennead deities. ne reality of fi lmmaking is that when you shoot a human being next to a gigantic statue, all you are going to see is its feet. So, the challenge is how to show the gods in the same frame as the actors? The answer was lower their faces, use the animals that represent a specifi c god to create this amazing but crazy Ennead god with an animal face and gods' eyes always in the shot. It was very exciting to approach the design like that; it became alive with the deities' presence at all times. The fi rst layer of gods on the lower part of the set consists of their representative animals if they had one. In the center is Osiris, on his right is Iris with her magnifi cent wings, on his left Horus, the falcon. Atum is the snake in glorious gold and cobalt. Hator has multiple shades to her face for her multiple feminine aspects. Geb is the bird, his beak dropping from above. Tefnut, the lioness, Shu with his beautiful feathers, and Nut, with her arms in the air to embrace the night and the stars. I tried to use the organic shape of the animals and interpret their limbs, faces and features into architecture. A. & B.CAIRO STREETS. SET PHOTOS. C. THE CHAMBER OF THE GODS. SECTION VIEWS DRAWN BY NEDDA NÉGYESSY. D. THE CHAMBER OF THE GODS. IN PROGRESS. A B D C