Issue link: https://digital.copcomm.com/i/891583
Using scale was the keystone; visual storytelling was the next element with which to concern myself. I began with the Spinner, Ryan Gosling's main ride. Using the vocabulary of brutality, the Art Department created designs that affected the mood of the movie. The designs of the three Wallace towers followed. All the interiors in the film rise above the cityscape adjacent to sprawling neighborhoods, including our police station—the workspace of our main character. Las Vegas, with its complications, offered a surrealistic counterpoint for the character played by Harrison Ford. The Trash Mesa reveals the end of the earth. Each environment countered and balanced those around it, incorporating the creative team's collective thinking on architecture, set decoration and lighting. C. Ryan Gosling as K, in a scene showing the outskirts of Las Vegas. D. Spinner crash concept art by Peter Popken done in Adobe Photoshop. E. Production photo of Wallace's Assistant Luv arriving in Las Vegas in an Escort Spinner to get Decker. C D E