Issue link: https://digital.copcomm.com/i/1529668
and meant to be a physical representation of the hierarchy of a government structure. The Emperor sits on top. Looming above the set and serving as a ceiling piece, there's a cube which is separated in four equal square parts to form cross-shaped slits, which is projected with light on the set floor below. Straight on the throne. Thematically: religious colonialism. Some of the best moments on Part Two were once again the numerous methodology meetings we have with heads of departments. In those meetings, we first discover the storyboards that Denis has been secretly working on and discuss how some of those scripted scenes are going to be shot. These are quite exciting moments as we end up all scratching our heads collectively. The sandworm riding scene was one of those special occasions where we are all allowed to express any stupid idea of how things could be possibly made or approached as those ideas can bring someone else to bring the solution. Egos must stay out of the meeting room and this is raw creativity or insanity from time to time. Sometimes these meetings would make us realize that we thought we needed to find three or four locations in Jordan to make a scene work when in reality, we'd be needing twelve and they will also be split between two countries. But on Part Two, the most amazing methodology meeting we had was for the scene in which the Fremen attack a Harkonnen harvester. Taking into consideration the general setting of the scene, it was given that we would be shooting this scene in a backlot that we would create in the middle of the Liwa Desert in Abu Dhabi. Given the size of a harvester and the nature of the scene, which is a game of cat and mouse between our heroes and a flying ornithopter, we would need a good number of construction cranes to help us create the shadows, the biggest one coming from the harvester itself. But we also needed moving ones coming from the harvester's legs behind which our heroes take cover. During this methodology meeting, Gerd Nefzer, our SFX supervisor, suggested that the best way to achieve this would be to attach the 2 x 44-foot built harvester legs to big excavators and puppeteer them for the action. It was crazy enough to work and it sure did. It was quite a site on those shoot days. Everybody involved in the making of Part One and Part Two put so much love and passion into it. I thank Denis for giving me the opportunity to continue this journey with him. But I also thank the immense talent of my team who supported every day. Shane Vieau, my brilliant set decorator, and his amazing team in Budapest. Tom Brown, my warrior Supervising Art Director. My Art Direction team spread between Budapest, Italy, Jordan, Abu Dhabi and Namibia: Tibor, Andrew, Felix, Adorján, Veronika, Fred, Phillipe, Miklós, Karim. Doug and Finley Harlocker on props and Stuart Heath and his amazing team at BGI. I owe you all. ADG D. ARRAKEEN RESIDENCY WAR ROOM. BUILT ON STAGE 6 AT ORIGO STUDIOS, BUDAPEST. PRODUCTION STILL. E. ARRAKEEN RESIDENCY WAR ROOM. ILLUSTRATION BY PATRICE VERMETTE AND DEAK FERRAND IN SKETCHUP, CINEMA 4-D AND PHOTOSHOP. Patrice Vermette, Production Designer Tom Brown, Super vising Art Director Andrew Ackland-Snow, Senior Art Director Karim Kheir, Félix Larivière-Charron, Tibor Lázár, Adorjan Portik, Veronika Toldi, Miklós Hatvani-Deàk (Jr), Art Directors Jing Jacinto, Zsófia Telek, Stefanie Übelhör, Assistant Art Directors Janka Erdély, Nedda Négyessy, Betti Unterlauf, Set Designers Kamen Anev, Paul Chadeisson, Deak Ferrand, George Hull, Peter Popken, Chris Rosewarne, Kris Tur vey, Concept Artists Sam Hudecki Stor yboard Artist Aaron Morrison, Enci Bognár, Graphic Artists Shane Vieau, Set Decorator E