![]() ![]() “We go on ‘wondering trips ’ where are there giant bodies of water that are only two-foot deep, that we can actually work in all day and put a space ship in? There is one in Chile, but it is sunny and beautiful. “We always try to think of everything that involves landscape,” he stated. Surely, Interstellar featured numerous exotic locations all of which Crowley supervised in addition to building elements on stage. I definitely remember being with Chris and wondering if we were going to be brave enough to present the world with TARS. When you design robots, it’s difficult because there’s so many ideas about one. It was important to bring Scott in and say how would you go about making this, because a lot of TARS is practical in this film. ![]() “So they had metal finishes and screens, and they were puppeteered by Bill Irwin from behind by hydraulics. “We made TARS as a real puppeteering robot,” said Crowley. To realize the TARS robots, Crowley enlisted special effects coordinator Scott Fisher to work out the machine’s hydraulic doors. It’s incredibly busy because I got to do a bit of the Ranger we got to figure out the Endurance, but what about that Tesseract? Give it to Paul Franklin see what he can come up with. “It’s like going to art school for six-eight weeks doing fantastic stuff with a friend,” he related. We had a lot of ground to cover in a short amount of time.”Īn art school alumnus, Crowley likened such an experience to the Interstellar design work with Nolan before shooting commenced. And then we 3D printed it to test the ships shapes. “That robot TARS needed to be modeled because he needed to be a thing that you can touch. “We sat at computers and created the ships digitally, and we made a model as well,” said Crowley. And that allows us to go off and discuss the film in a place.”Īfter the pre-pre-production period, Crowley moved out of Nolan’s house in to offices, and specifically into two enormous soundstages at Sony Pictures in Culver City to realize spaceship interiors and exteriors plus robots. At the same time, we look at locations, and we go ‘wondering.’ So we might fly to England and go look at a location, or we might fly to Iceland. We have computers now, 3D printers, and we test ideas, and we have a mold shop, so I usually bring in a moldmaker or I bring in key people, such as an illustrator. We draw together - he likes sketching as well. And it also allows me to do my work with Nolan. That’s the way we have always done films. “It’s streamlined, and we haven’t gone down any dead ends. “To figure out how we are going to go about the film and what it should look like, privately, allows me to then engage with 200-300 people, and I can instruct them correctly,” Crowley explained. In this low-stress pre-pre-production period, Crowley feels free to explore, preceding the immediate ramp-up into building the art department’s needs. And it is sort of a private four-six weeks – sometimes its eight weeks depending on the size of the film – where we actually try to discover what we want to say visually.” He allows us to find the film visually, with him. Visual effects supervisor Paul Franklin is usually there people come in like Hoyte Van Hoytema, cinematographer. And so we have this space in his house in L.A. “The art department was started in Batman Begins and is now a nice art department. “We always start in his house, in what was the hood of the garage,” said Interstellar’s production designer, Nathan Crowley. However, as with all of the latest Christopher Nolan films, Interstellar’s art department began in a humble place – Nolan’s home. On a project of the magnitude of Interstellar, one conjures images of soundstages full of sets, floor plans, prop storage and myriad art department accoutrements.
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