Issue link: https://digital.copcomm.com/i/1544119
talented local artists and artisans in Budapest are completely responsible and must be congratulated on bringing the vision of the director and all the department heads to fruition. All the department heads should be congratulated on helping to breathe life into the Dust Bunny sets. I realized very quickly that I was collaborating with a director who had an imagination that was never going to be contained by boundaries, and that Bryan was obsessed with film history. A slightly different point of view from mine for setting the scene, but a different point of view can help change your world for the best. Dust Bunny's most whimsical of worlds are revealed to be contrasting, Aurora's sweet against the sour of the hitman. Even so, the world created is a maximalist endeavor and contains many architectural references that I have been dying to get into a film. The Art Nouveau of Victor Horta's Hotel Tassel in Brussels, the Gothic Revival of Horace Walpole's Strawberry Hill house in Twickenham, London, and last, but not least, The Dakota building on New York's Upper West Side. Films by Peter Greenaway, Terry Gilliam and John Boorman from the 1980s, and the French maximalism of Jeunet and Caro in the 1990s, very much helped inform my choices. The world of the film is timeless, so we were able to be anachronistic in our choices of design and architecture. But all the periods revealed are based in reality and therefore could exist together. The final words uttered by Oscar Wilde on his deathbed were that he felt he was in a duel to the death with the wallpaper in his Parisian hotel room, and one or the other had to go. We took advantage of incredible wallpaper from various destinations in Europe, including Iksel in Paris. I took a most enjoyable trip to the City of Light to do the research. I can honestly remark that no wallpaper was harmed in the making of this film. Dust Bunny very much resides on the eye level of Aurora, so the Production Design has a psychological approach to creating the world, and in this case, a fairy tale world. This is helpful in the A A. AURORA'S APARTMENT AND HALLWAY. STAGE PLAN. B. AURORA'S APARTMENT SET EXTERIOR. ILLUSTRATION BY ZOLTÁN VIRÁNYI- FONTAN. C. AURORA'S BUILDING EXTERIOR.ILLUSTRATION BY JONATHAN MCGONNELL. D. AURORA'S BEDROOM WALLPAPER. COLOR ELEVATION CREATED BY ZOLTÁN RÉCZEY AND THEIR TEAM. E. AURORA'S KITCHEN. IKSEL WALLPAPER PATTERN FOUND IN PARIS. F. APARTMENT HALLWAY WALLPAPER. G. AURORA'S LIVING ROOM. IKSEL WALLPAPER PATTERN. H. AURORA'S APARTMENT HALLWAY. ILLUSTRATION. BY GERGELY FODOR. TRACERY SCREENS INISPIRED BY STRAWBERRY HILL HOUSE. I. AURORA'S KITCHEN. ILLUSTRATION. BY GERGELY FODOR. J. AURORA'S LIVING ROOM. ILLUSTRATION. BY GERGELY FODOR. K. AURORA'S BATHROOM. ILLUSTRATION.BY GERGELY FODOR. B C