ASSISTANT ART DIRECTOR: This was my introduction into union filmmaking. We did start off non-union but signed before photography started. It was so amazing I was just starting and working with such a talented work force. Most of the illustrators on that show are production designers now. Many of the others are striving. On this show we were able to be plugged in in many differing roles. Our Art Director Mark Zuelske and designer Holger Gross just wanted efficiency. I got to do many things illustrate, set design, make models… I will never forget this experience.
I touched so many different things. This was early on the burial pit.
I was very honored to have been able to work on the stargate itself. Oliver Scholl and myself brought the design to fruition.
This was obvious one for me. Again utilizing my product design background to design the star map.
I also got to do the sarcophagus. I helped to design the move as well. The idea was rather than just the lid swinging open like a casket it reveals itself by lowering into the floor. Our hope was that all the pieces would finish there moves at the same time. Thus the parts with larger travel would have to be accelerated. Quite the undertaking. Our SPX supervisor Kit West was up for the task.
I was put on most of that tiny detail shown in walls and on the side of the sarcophagus platform. I became known as the “zipper man.”
As you can see I also was involved with Nagata city. I learned a lot from Luis Hoyos. I feel is one of the premiere set designers.
I also did the concepts for the sarcophagus room and drafted the set.
I drafted RA’s spacecraft. Mick Cukurs did some detail work as well. More zippers. I worked closely with Greg Jein, our miniature supervisor, as I had started in miniatures like Greg.