“There’s nothing particularly female about her. You’ve got your cigar and the shade over your eyes. It works again for a classic poker dealer look. Like a cigar coming out the side of your mouth. He’s got this tube, like a breathing apparatus, that comes out one side of his mouth, and that’s a nod to a short, stumpy cigar - a Clint Eastwood kind of thing. But then he didn’t get picked for Enfys Nest, and I had to get rid of the bone mask, so it became this leather mask. They wanted to have this bony-mask feel, and at the time the mask was meant to be made out of bone with scrimshaw detailing. He started out as a sketch for Enfys Nest - we were all pitching in on that. But costume and details do work to tie them together.Ĭoncept art of who would become “the dealer” by Adam Brockbank. They are all shapes and sizes from different parts of the galaxy. Are you consciously trying to make them all fit together? There are so many characters in that scene. They all read as Star Wars to me, but the designs are all doing different things. We had the low light above the table and it all looked amazing.” We set that scene up, we had them all sitting around this big table. “At one point we had all the sculpts arranged, prior to them getting molded and signed off. With Bradford Young’s lighting using practical sources, what you see in that final look is very Caravaggio influenced. We sat a long time just referencing Caravaggio and the Caravaggisti - Flemish artists that were very influenced by Caravaggio, who were painting these scenes of gamblers and card players, people sitting around tables, and lots of little action poses. Through the course of production, Caravaggio came up. Everything was real low-level lighting, and that was a big starting point. “We were given a screening of the film McCabe and Mrs. Also, in place of fabrics, we had these strings of mother-of-pearl discs, like you get on those old-fashioned lampshades, hanging off her that were almost suggestive of scales.” So her costume was an amalgamation of just trinkets she liked with an element of chainmail, large-scale loops all interlinked with a metal carapace across the top. She sends these kids out stealing and she keeps some choice things for herself. So we ended up looking at hard-surface things. It was clingy, it just didn’t do what you wanted it to do. However, when we did it for real, it just didn’t work. In one of the drawings I drew, you can see her in white fabrics swooping down into the water. When we had fully made the puppet, we experimented with dressing her in long flowing fabrics. “The final creature design for Proxima was by Ivan Manzella, but I ended up designing her costume. She needed to come up and over and really bear down over him, towering up out of the water. Has she got scales or arms? She also had to be dominant over Han. We played with ideas that the tentacles might interconnect with her attendants, that maybe they were all a symbiotic organism we looked at whether she was truly worm-like or more like a snake or serpent. “The initial brief for ‘The Lair of the White Worms’ suggested that Lady Proxima was this matriarch of a low-level street gang, intolerant of daylight, might be literally worm-like, and potentially have tentacles underneath the water. To begin with, we all work on a brief, generating ideas until one design gets picked and that designer takes it forward into development for sculpting and fabrication. “There are four of us in the creature effects concept team - Ivan Manzella, Martin Rezard, Luke Fisher, and me. (Note: All concept art by Jake Lunt Davies unless otherwise noted.) With Solo now available on Digital and Movies Anywhere and its arrival tomorrow on 4K Ultra HD, Blu-ray, DVD, and On-Demand, spoke to Lunt Davies about defining (and adding some bling to) a giant worm-like entity, developing a Star Wars biker gang, and bringing Maul back to the big screen - with a first look at previously unreleased Maul concept art. Now, concept artist Jake Lunt Davies takes us back even further - to the design stage, where the movie’s characters and various galactic beings were ideated. Last week, puppeteer Brian Herring took inside the Solo: A Star Wars Story creature shop, revealing many of the techniques and methods used to bring the film’s various creatures and aliens to life. To create everything we actually see in a Star Wars movie, no matter how complex, it all starts with a simple process: human beings drawing things.
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