Issue link: https://digital.copcomm.com/i/1529668
removed altogether, contributing to the rundown, decayed atmosphere that characterizes this otherworldly realm. The graphics department, led by Lisa Williams, played a crucial role in bringing the world to life. While the work on the complex, mind-bending floors was standout, it was only a small fraction of what the graphics team contributed to the film. In addition, the graphics department were responsible for the various posters and graphics that populated the underworld. This included everything from Beetlejuice's cheeky flyers to the vibrant subway art for the soul train set, each piece contributing to the film's surreal and anarchic atmosphere. Lisa and I would regularly have brainstorming sessions generating ideas and refining the visual direction. One of the standout projects from these sessions being the creation of the Wolf Jackson film posters. Lisa produced so many brilliant designs that Tim Burton found it hard to choose his hero version. One of the most fun and rewarding parts of the studio shoot was the 1340s flashback, where Beetlejuice meets Delores. Initially, this scene was planned as an elaborate backlot set, but constraints of time, space and budget tested the Art Department's creative thinking. Tim was keen for this sequence to be reminiscent of a Mario Bava movie and this prompted me to suggest we A B C D