LOS ANGELES, CA
In the spring of 2015 I was contacted by producer Bill Carraro about the possibility of coming on board his next project... He had me at Blade Runner.
Although I was initially brought in as a consultant to help budget and begin the process of world building, I ultimately had the opportunity to help create the initial concept and look during the development phase of the film. Director Denis Villeneuve was preparing to shoot The Arrival at the time and save for a few face to face meetings I would only be able to show him our work via weekly file sharing and video conferences. Truly one of the most gifted filmmakers I've had the privilege to work with, Denis was a visionary from the start.
Like most projects, it began with a script and an empty room.
I put together a small team of artists working out of the offices of Alcon Films. Researcher Allison Klein was the first hire and together we began to find images of inspiration for both the artists and for writer Michael Green.
The core team was made up of Victor Martinez, Scott Lukowski, Emmanuel Shiu and George Hull. For a time we were also joined remotely by several artists from Weta Workshop as well as concept artist Steve Jung. Their work was truly inspired.
And for five months we dreamed.
The idea was to define the boundaries of the world that the film would occupy, to come up with the rules and the structure that would support the narrative, to build a cohesive ecosystem that honored the original film while pushing the story thirty years into the future. We created hundreds of images as we worked our way through the story.
Although I would have loved to have seen the project through to completion, circumstances took me elsewhere, and the film was ultimately finished brilliantly by production designer Dennis Gassner and director of photography Roger Deakins.
Much of what we achieved in those early days is still visible in the final film. The images above are a solid representation of this work.