![]() But, let me think about what else I can say about that. So I prefer to work to that level and then people can put their details and colors and everything in afterwards. But again very simply done, not, I think what it is when I design I like to leave a lot of creative input to the person next along the line. So those dandelion clocks and all these kind of little elements, I tried to place them so that it's a very kind of pleasing composition. The painting of the various elements around her but their very, very carefully placed if you know what I mean. Usually that's because I came in quite late and into the production I had that luxury. So I had kind of the luxury of working on what was going to be the final edited sequences in the film which is very unusual. And can you talk a bit about the combination of incorporating the live action imagery into artwork.ĭermot Power: Yes, sure because the sequences were already edited. Let's move to the next image of Alice as she is miniaturized. And I think the problem with that is their's is so finished and beautiful it's a little distracting so Tim Burton asked me to come in and just do these quite minimalist, but strong concepts for the shapes and the things that she'd see in Underland. I think before I had arrived on the firm there were a lot of beautiful t-frames illustrated by some of the guys and people like that at Sony. He wanted me to do the quite sort of very impressionistic - I don't want to say simple, but minimalist illustrations that go to the point and didn't hide the point of the design and the detail. In fact I did a much more detailed visual of the same shot and when Tim Burton saw it he was like 'yes, that's cool' but you know we don't - he didn't need me to do that. And very dark and nacing out in the field I wanted to go for. And of course when you work for Tim Burton you attempt to find spires you know and excuses for drawing them everyplace so that was the thinking there. So you know Alice is running straight into the woods on a straight path and crossing her path is this straight tree and then off that you have these very curved shapes that the trees, twisting trees and twisting ferns. And what was important to me was to have - with all the things that I designed is contrasting forms. And then I took distance from an edited sequence so I knew exactly where - I mean Alice is just a figure in a green environment. Have that feel, the feel for them which he really liked. What I did was, I did a very quick sketch for Tim Burton of what I felt the woods should look like. I can imagine the inspiration you got from that.Ĭould you explain the construct of Alice, as she is first approaching Wonderland.ĭermot Power: The shot where she is running through the woods? So that shot was one of the very first shots I did. And then I was up in the attic like the artists in the garage. ![]() Tim Burton bought this studio which just happens to be very near where he lives in London and he set up an office there himself. So do you want to work in the studio?' So that was where I ended up working for almost a year. And Tim Burton was like well, 'I bought his studio. And the bonus was that, while I was having a chat with Tim Burton, he said, "Well, where do you want to work?" And he said, you can work here in the editing, where he was, or from home or - and then he said, "But you know - you know Arthur Rackham?" And I'm like, "Yeah, of course." Arthur Rackham is the 19th century illustrator of Alice in Wonderland and I'm a huge fan of his work. So you know I love - it was a great opportunity. In fact, I've worked on another Alice in Wonderland production about 10 years before. And it was a dream come true for me, because I'm a big fan of Tim Burton, and to sit there and have a chat with him, and I'm obviously a big fan of Alice in Wonderland. And yes, so he was quite (led) into the production of Alice in Wonderland and was trying to get the design and look of the film you know to match his vision. So he sort of asked his assistant to track the guy who did that type of stuff on the other film down, and he wanted to have a chat. And I've worked with Tim Burtonin the past on Charlie and the Chocolate Factory and - but there was a big team of concept artists on that, and I never actually met Tim Burton himself, but he knew my work. Give us some insight into your work with Tim Burton.ĭermot Power: Yes, I got a call from Tim Burton's assistant. Dermot, talk a little bit about when you first got the call for this film.
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