Issue link: https://digital.copcomm.com/i/891583
42 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 7 Cinematographer Roger Deakins conceived the lighting for the film, and he shared his ideas on how to incorporate his lighting concepts into all the sets. Roger and I have worked together for twenty-eight years. We have always complemented each other well. My responsibility as a department head is also to my crew and its key members. Supervising Art Director Paul Inglis and my assistant Camille Verhaeghe helped me develop and organize my thoughts. Together, we assembled an exceptionally talented, international group of Concept Artists, Art Directors, designers and set decorators, making this a very unique Blade Runner crew. "The Wall" is a particularly important manifestation used to present all the concepts as they are realized. Everybody can stand in my office to see the entire film in sequence, how it grows and changes to completion. I learned this technique from Dean Tavoularis as his A. The Wallace Records Library. Concept art by Bence Erdelyi and Gábor Szabó done in ArchiCAD and 3ds Max. B. Ryan Gosling in a scene set in the Wallace Records Library. Photo by Stephen Vaughan. C. The Trash Mesa. Concept art by Peter Popken done in Adobe Photoshop. Finding the story in Los Angeles 2049 was the key element. Things have changed. The world is harder; the atmosphere is overcast, wet, snowing. It is a harder life than in the first film. The brutality of this life dictated the architectural style of the film. The design and lighting must unite to ensure balance. A C