Issue link: https://digital.copcomm.com/i/1535796
Another specific example was the throne room within the Corrino Palace. Earth is a planet in the Dune universe, a Gaia, but tragically lost and dead. Humans populate the universe, not space aliens that happen to look human. Marble, stone and wood variants could be tweaked but familiar. It also meant that echoes of classical architecture proportions and format could be explored; what would a Corinthian inspired capital look like in ten thousand years? Specificity to the book was brought in to flank either side of the throne dais with large bronze statues. On the one side was the Machine Wars martyr Rayna Butler and on the other, Serena Butler cradling her martyred baby Manion. The design team went through this exercise for each considered set until it became second nature. Every day was Dunipedia. It was not going to be a glossy world of metal panels and flashing screens. The Dune epoch is religiously established in a post computer anti-technology world punishable by death. While not quite such a grim consequence for us, we did have a franchise audience that was intensely interested and rightfully protective of this seminal work. Like actors doing their background work for a character, this is my process. When I am sketching out a set, I am telling myself a story of the scenes at hand. The characters move in my "real space" and act out the scenes. It guides me through the space defining it. When one has a good deep understanding of the who, why and when, the design is automatic. Collaborating with the super- talented crews we designers are so fortunate to surround ourselves with, develops, refines, and strengthens those designs to a point where our directors and producers cannot imagine it ever being any other way. Now, apart from deep fans looking at a frame-by- frame direction, the specific details whether grand or small, may not be absorbed by the audience at large. There is no plaque at the bottom of each statue of the Butlers, nor the bas relief honoring war hero and originating multi-great-grandfather Vorian Atreides. Nor for the Rossak water vials hanging behind the Mother Superior's desk on Wallach IX. I do believe that repeating these details constantly and throughout lend authenticity that the audience can feel. We all know an uncanny valley when we see it. Without living in these books with excitement and passion, the design team couldn't dream a story that would ring so true. When the keyframes were presented to the creative team and the studio, the response and the confirmation were declarative. That is Dune! ADG A. YANKIVER RIVERBANK. CONCEPT ILLUSTRATION BY FLÓRIÁN FICKERT DONE IN BLENDER AND PHOTOSHOP. B. INTERIOR HARKONNEN. CONCEPT ILLUSTRATION BY BALAZS AGOSTON. DONE IN BLENDER. C. ZIMIA SPACEPORT. IN PROGRESS. D. ZIMIA SPACEPORT. FINAL BUILT SET. E. ZIMIA SPACEPORT. CONCEPT ILLUSTRATION BY BALAZS AGOSTON. DONE IN BLENDER. F. ZIMIA SPACEPORT. FINAL PRODUCTION STILL. A B