Please
describe
the
responsibilities
of
the
Production
Designer.
The
responsibility
of
the
Production
Designer
is
to
have
visual
control
of
the
film,
first
you
create
a
concept,
then
you
design
the
sets
within
these
concepts,
after
that,
you
have
to
work
with
your
team
to
build
sets
and
decorate
the
sets
without
losing
any
one
of
the
ideas
that
are
created
during
the
design
period.
Then
you
have
to
supervise
that
those
concept
are
the
ones
that
the
audience
watch
in
the
film.
How
did
you
become
involved
in
this
project?
They
(Russell
Mulcahy,
Jeremy
Bolt
and
Paul
Anderson)
sent
me
the
script
and
then
we
had
a
meeting.
We
had
a
great
connection
and
immediately
we
started
working
on
the
first
ideas.
When
we
started
working
together
we
decided
we
could
make
a
cool
film
with
a
lot
of
visual
attraction.
Was
it
difficult
coming
into
the
3rd
installment
of
this
film
or
was
it
easier,
why?
I
always
liked
the
Resident
Evil
look.
The
videogames
and
the
movies
have
their
own
code
and
I
really
like
that
code,
but
this
film
is
completely
different.
It’s
a
post
apocalyptic
film.
The
world
is
filled
with
sand.
It’s
shot
in
daylight
and
that’s
unique
for
a
zombie
movie.
It
is
unique
as
well
that
the
action
occurs
in
the
desert.
I
had
a
lot
of
freedom
to
create,
to
put
my
own
obsessions
in
the
set
pieces.
How
much
did
you
reference
the
videogame
even
though
film
has
a
different
code?
I
took
references
from
the
other
movies.
I
took
references
from
the
videogame
as
well.
I
read
a
lot
of
literature
about
Resident
Evil.
I
wanted
to
have
some
continuity
of
what
the
previous
two
films
offer
in
terms
of
design.
Also
what
the
videogame
offers
visually.
We
know
there
are
a
lot
of
people
that
are
fans
of
Resident
Evil
so
we’ve
decided
to
put
little
details
on
every
set
for
the
people
who
know
about
the
game.
These
details
are
semi-hidden
and
only
real
fans
will
know
they’re
there
for
them.
I
gave
the
fans
little
clues
so
they
could
discover
them.
How
did
you
work
with
Russell
in
creating
the
look
of
this
film?
I
always
felt
that
Russell
liked
what
I
was
doing
and
he
was
very
supportive.
In
every
process
there
are
times
when
things
become
a
little
tense
and
I
think
the
most
important
thing
is
to
be
involved
with
people
who
trust
you,
and
he
trusted
me
since
the
first
day.
We
talked
a
lot
about
the
sets.
We
did
a
lot
of
drawings
on
black
and
white
first,
once
we
liked
the
shape
of
the
set
pieces
we
were
designing,
we
added
in
color
and
effects
to
those
drawings.
It
wasn’t
a
very
long
pre-production,
but
it
was
very
intense.
We
had
a
whole
team
of
sketch
artists
and
conceptual
artists
to
put
on
paper
what
we
were
creating
everyday.
Did
you
have
specific
themes
you
wanted
to
work
with?
The
textures
were
really
important
to
me
in
this
film.
There
are
two
environments,
two
very
different
environments.
One
is
outside,
in
the
world
that
is
abandoned.
This
part
of
the
film
had
to
be
heavily
textured.
Lots
of
rust,
faded
colors
and
sand
blasted
surfaces,
chaos
and
destruction.
The
other
part,
the
design
for
the
umbrella’s
facilities
that
are
located
under
the
surface
of
the
earth,
is
very
high
tech.
Shiny
surfaces,
glass,
black
and
white,
concrete
exposed,
aluminium,
well
designed
lines
in
the
architecture
and
light
features.
What
challenges
did
you
face
in
accomplishing
the
look
of
this
film?
One
of
the
main
challenges
was
to
work
in
the
desert.
It
was
visually
astonishing
but
it
was
very
difficult,
with
extreme
conditions
of
weather
and
temperature
for
work.
All
my
team,
all
the
construction
guys,
set
decoration
guys
had
an
enormous
job
there.
First
they
create
a
road
in
the
sand
to
get
just
below
the
sand
dunes.
Then
they
work
hours
under
the
sun.
We
had
shade
and
a
full
kit
of
beverages
for
dehydration
but
anyway;
you
have
to
be
aware
when
you’re
working
in
the
desert.
There
were
a
lot
of
sets
that
we
had
to
create
in
a
small
period
of
time
because
the
pre-production
was
short,
so
we
were
working
extra
hours
everyday
to
conceptualize
and
design
sets
while
we
were
shooting.
The
other
difficult
part
was
that
we
had
to
divide
the
production
in
two
parts.
We
shot
exteriors
in
the
northern
part
of
Mexico,
and
all
the
interiors
were
shot
in
a
studio
in
Mexico
City.
So
there
was
a
part
of
the
shooting
that
my
team
and
I
had
to
travel
back
and
forth
from
Mexically
to
Mexico
City
to
supervise
the
construction
in
the
stages.
And
as
in
every
movie,
the
main
challenge
is
to
give
the
audience
a
believable
world.
And
a
world
that
the
characters
feel
that
they
belong
to
the
sets
that
you’re
designing
for
them.
What
is
your
favorite
part
of
the
process?
I
love
the
conceptual
part.
I
love
the
very
beginning
when
you’re
creating
from
zero
and
you
close
your
eyes
and
suddenly
you’re
imagining
spaces
and
shapes.
The
other
part
that
I
love
is
when
you’re
giving
the
final
touches
to
the
set
before
everybody
starts
coming
to
see
it.
When
you
decide
that
your
set
is
exactly
like
the
one
you’re
delivering.
That
you’re
not
adding
anything,
but
nothing
is
missing.
Do
you
have
a
least
favorite
part
of
the
process?
Of
course,
when
you
create
a
world,
you
have
to
build
it,
and
that
has
a
cost.
It’s
the
part
of
the
process
that
you
have
to
deal
with
the
reality
of
the
figures.
I
don’t
deal
with
that
directly,
but
everything
I’m
creating
has
to
fit
in
a
certain
budget
or
a
certain
week
of
shooting
or
weeks
of
pre-production
and
I
really
suffer
a
lot
when
we’re
in
that
part
of
the
process.
Is
there
a
specific
scene
you’re
most
proud
of?
Why?
I
think
that
the
Las
Vegas
strip
is
a
huge
and
unique
set
piece.
It
is
very
extreme,
very
difficult.
That’s
the
one
I
like
a
lot.
The
other
one
I
like
a
lot
is
the
desert
trail
motel,
where
the
bird
attack
takes
place.
We
created
a
gas
station
with
a
motel
and
a
diner,
a
full
road
and
billboards,
all
this
set
was
built
in
the
base
of
the
sand
dunes
so
the
impression
that
everybody
gets
is
that
the
dunes
have
moved
and
start
to
bury
the
motel.
It
was
very
impressive
to
be
there,
with
this
wild
and
powerful
landscape.
I
really
enjoyed
creating
that
one.
When
we
finished
it,
it
was
a
very
scary
sensation.
Plus,
everything
was
abandoned
and
the
feeling
was
that
something
tragic
had
happened
in
that
place.
How
did
your
previous
work
prepare
you
for
this
project?
Every
film
you
do,
every
film
you
design,
you
learn
certain
things
and
you
add
tools
that
you
use
in
your
next
project.
You
learn
how
to
put
your
creative
ideas
into
a
practical
process.
The
last
movie
I
did
before
Resident
Evil
was
Pan’s
Labyrinth
and
those
films
have
certain
similarities.
First
of
all,
both
worlds
were
created
from
scratch.
Both
had
the
interiors
on
a
stage
and
a
lot
built
on
exterior
locations
like
the
forest
in
Pan’s
Labyrinth
and
the
desert
here
in
Resident
Evil,
so
the
process
was
similar.
Also
the
way
that
I
approached
them
was
very
similar.
First
comes
the
concept.
Once
you
have
the
concept
you
have
certain
parameters
to
design,
you
start
with
the
shapes
then
you
start
adding
the
color
and
creating
the
palette,
which
I
think
is
the
bible
for
a
Production
Designer.
You
won
an
Oscar
for
your
work
on
Pan’s
Labyrinth.
This
film
received
such
acclaim.
How
did
it
feel
to
receive
such
an
honor
for
your
work?
Of
course
every
award
is
recognition
to
your
work.
But
I’ve
always
said
that
I
do
movies
because
I
can’t
do
anything
else.
I
do
not
want
to
do
anything
else.
I
love
to
tell
stories
from
the
visual
perspective.
Pan’s
Labyrinth
had
been
so
well
accepted
and
so
many
people
saw
it.
For
me
that’s
even
more
important
than
the
Oscar.
I
always
appreciate
the
possibility
of
getting
an
award.
It’s
always
an
honor,
but
for
me
the
most
important
thing
is
that
I
really
love
the
film,
and
the
way
people
in
different
parts
of
world
react
to
it.
Every
person
takes
something
different
from
that
film:
a
man
from
Mexico,
35
years
old,
connects
to
certain
things,
a
grandmother
from
Japan
connects
to
other
things
and
people
from
the
United
States
connect
to
other
things.
That’s
my
biggest
reward,
to
know
that
all
the
work
you’ve
done
is
reflected
on
the
screen
and
touched
the
people.
What
projects
do
you
have
coming
up?
I
did
a
film
in
Mexico
called
Rudo
y
Cursi.
There
was
a
good
team
of
Mexicans
working
on
this
film
together,
Gael
Garcia,
Diego
Luna,
the
producers
are
Alejandro
Gonzales
Inarritu,
Guillermo
Del
Toro
and
Alfonso
Cuaron
and
Carlos
Cuaron,
the
brother
of
Alfonso,
directed
it.
Luckily,
I
have
some
projects
so
I
have
to
make
some
decisions
in
the
next
few
days.
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