ASSISTANT ART DIRECTOR: This is one of my favorite film projects. Working with one of my idols Terry Gilliam. I am a big Brazil fan. My focus was on the future world sets. I was allowed to do ideation sketches for discussion with Mr. Gilliam. I also delve into the costume design as well.
This was one of my first tasks. Bruce Willis’ assistant came to the art department and asked if we could create a diagram that could show Bruce the journey through time as it pertained to scenes. This diagram was a cut and paste effort as there was no photoshop back then. It goes in story continuity from left to right. Vertically it defines the time period for each sequence. I used scene numbers and visuals of whatever we had at that time. This was my third film and this was the beginning of my script breakdowns and charting efforts.
I worked on this suit with the propmaker Rick Gamez. We searched for interesting parts then we ideated. I then sketched images to show Terry.
My sketches of the suit.
This is the Richmond Power-station in Philadelphia. We shot several future world sets here.
We really lucked out here. The Philadelphia City Hall building and street were doing renovations. We quickly took advantage of this down time for them. Unfortunately even though we were there in the wintertime there was not much snow fall. We dressed in some and VFX did the rest.
This is a sketch of the time machine room.
A sketch of the interrogation room.
Another of my sets was the asylum, which was installed at the Eastern State penitentiary. Best known for housing Al Capone.
As I did with the hazmat suit I sketched the overall time machine and drafted for construction. Rat-face Holzman a set dec buyer found most of the parts at a local aircraft boneyard. Much of which were satellite components. .
Another of the sets I was covering was the airport terminal. Which was the Philadelphia Convention Center, Grand Hall, we turned into a terminal. We added concession stands, departure boards, newsstands, security check points and public phones.