Issue link: https://digital.copcomm.com/i/1514626
reasoning and specific key references for the team to work with. Researcher Lizzy Klein and I gathered hundreds upon hundreds of images across diverse genres of art, architectural styles and tech. Lizzy has an incredible eye and a deep wealth of knowledge of films, visual artists and architecture which we bonded over. She was very much an essential collaborator and member of the team. As The Marvels is part of the "MCU," there were sets from other series and films that we needed to include in our film. I remained faithful to their original designs but made tweaks and alterations where possible to integrate them into the aesthetic of our film. The most exciting sets were the alien worlds that the team got to create from scratch. The script was in constant flux all through the process; so we also needed to world build at the speed of light. There were some incredible sets developed that sadly didn't make it into the final film, as the plot evolved and entire worlds disappeared from the script. We needed to design quickly and be ready to pivot when major changes happened. The planet of Aladna was one of my favorites from the beginning. Aladna is an intergalactic hub of trade and travel, filled with outrageous fashion and friendly locals. Nia wanted it to be inspired by the B. A FILM STILL OF CAROL'S SHIP. USING THE "POP OF VOLUME" AS A BACKING NEGATED THE NEED FOR BLUE SCREEN. ALL THE VIEWS OF OUTER SPACE WERE SHOT IN CAMERA WITH MINIMAL POST- PRODUCTION EFFECTS. C. THE FINAL HERO ILLUSTRATION FOR THE PLANET OF ALADNA, SHOWING THE PALACE, CITY AND SPACESHIP LANDING PORT. ILLUSTRATION BY KARL SIMON GUSTAFSSON. B C