ADG Perspective

November-December 2022

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Miles' Isle, my name for our fictional island estate in the Ionian Sea, had to be eye-catching in its silhouette when seen from afar—it also had to be a location that would provide the film with a sense of architectural splendor and luxury. The unrealistic wish was to find an island estate filling the aesthetic requirements, the billionaire owner(s) of which would enthusiastically welcome the crew to shoot there. We were lucky enough to find a villa owned by a game couple in the hills of the Peloponnesian peninsula that was part of a hotel there, but separate enough to have its own singular personality. The fact then that the island estate would be a digital construction built on a landlocked villa was a happy outcome since we would be able to optimize the environment to suit our location brief. The villa's sleek modernist take on classical Greek architecture with the dramatic outdoor stairway and compositional hierarchy designed by the accomplished architect Edward Tuttle was a perfect base for what we intended Miles' character to have built. To my mind, the Glass Onion itself was the most transparent of all metaphors, intended by Rian to propose a corollary to the "Locked Room" quandary A. CONCEPT ART FOR THE ALPHA AEROSPACE FACILITY BY MIRKO MILOSEVIC IN MAYA AND PHOTOSHOP, BASED ON KURT VAN DER BASCH'S SKETCH. ELEMENTS OF THIS INDUSTRIAL WAREHOUSE "STAGE" AND SIMPLE DRESSING COMBINED WITH A DIGITAL MATTE WERE USED TO SHOOT LIVE-ACTION ELEMENTS OF THIS SCENE IN BELGRADE. B. CONCEPT ART FOR MILES' ISLE SHOWING THE GLASS ONION AND ATRIUM ROOF ASTRIDE THE LOCATION VILLA. CREATED BY RODOLFO DAMAGGIO IN MAYA/PHOTOSHOP. C. PRODUCTION STILL INSIDE THE GLASS ONION (MILES' OFFICE AND MONUMENT TO HIMSELF). NETFLIX. A B

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