When Director Peggy Holmes was first approached
about the project Luck, there were two concepts in
place. The first was focusing on the universal idea of
luck, and the second was developing a story around a
lead character that grew up in the foster system.
"We looked into this idea of good luck and bad luck. It's
something we all experience every day in our life," she
says. "I immediately started to do research. I read a lot of
journals and papers…what I came to realize was that luck
is random. You have no control over it. You couldn't have
a character, for instance, that was creating a piece of
good luck and sending it to a specific person."
The visual creation of the Land of Luck helped
inspire the story further, and in a way illustrated the
randomness of it. Holmes reached out to Production
Designer Fred Warter to help make a visual map.
"The first piece of art that Fred did for the movie
was he created two worlds on the opposite sides of
W h en it c om e s to def ining luc k , a n ew
m ov ie exp lore s b oth side s of th e c oin .
By Alexandra Drosu
F E AT U R E
LUCK
OF THE
DRAW
34 KEYFRAME
