Its like looking through a childs eyes with kaleidoscopic lenses on, says Heath.
But he also didnt want it to go down a stylistic way for the sake of being stylistic.
You cant just make a surreal world for the sake of it.
POOR THINGS, Emma StoneSearchlight Pictures/Courtesy Everett Collection
It has to come from the story and the characters and everything has to be believable.
That added a slightly contemporary, brutalist edge to the fairytale of the city.
It was a studio build in the biggest sound stage in continental Europe, he says.
‘Poor Things’ Lisbon setSearchlight Pictures/Courtesy Everett Collection
The whole of Lisbon had 15 streets with alleys and stairways that all linked up, says Heath.
The amount of buildings that went four stories high was extraordinary and it was sort of never ending.
That was a real world, a real city in a build.
With that in mind, Brower designed what she would want to see if she was in Kamalas shoes.
For the musical planet of Aladna, the goal was to have an explosion of color.
[DaCosta] wanted the fashion of all the people to be really outrageous, says Brower.
She wanted it to feel like Positano, Italy but with alien technology.
We tried to make it really sculptural, she says.
Theres lots of curves because I wanted it to feel like theres a musicality to all the buildings.
When Dar-Benn is taking resources from other planets, she pulls the atmosphere from the Skrull refugee planet.
Its supposed to be their hidden, secret new home, Brower says.
Taking visual cues from previous films, she found that Skrull architecture was more organic and fluid.
We put them in this hidden, rocky valley, and developed the look for them.
called the Supreme Intelligence.
In the past we wanted to show that the A.I.
For production designer Sarah Greenwood and set decorator Katie Spencer, creating a plastic world had some surprising difficulties.
We are creating a world that has no elements, says Greenwood.
Because it looks so simple, theres nowhere to hide, says Spencer.
It was very much the absence of things, which was a new challenge.
We had to go four grades down from the best to get the perfect, artificial green grass look.
Its like an anti-aesthetic, Spencer says.
After many rounds of ideas, they decided to consider the transitions like dioramas.
