But then toward the end, we actually fused everything together to really get that feeling of just a whole sheet that allows the creature to float around. And so the design of the creature changed as well.įor example, at the very beginning, we had more of the idea of tentacles.
And the sky started to take on more and more importance. Then there’s the whole idea of the stalking in the clouds. But then as things were evolving, the script started to introduce more horror into it. The sheer size of it would be what is scary in a way. He would come back the next week to us and say, ‘Well, all of those things gave me ideas, so that’s where I’m at now.’ And then we would look at the design and say, ‘Okay, so now where do we need to go?’Īt the beginning, we talked about the creature as being a Mother Nature incarnation, like your godly representation of nature. And then that final shape got refined in a lot of multiple ways.Įvery time we would give Jordan an idea or bring something to build the script around it and make it progress. So where do we go from there? Where do we go from there? And so we ended up with the final shape. So it was a logical way of, okay, how do we open it up so it’s interesting? And it’s like, oh, well, it kind of looks like that. And I naturally ended up with that shape that we refined. And as I took that idea, that final unfolded shape, I took the flattened version and tried to see how I could open it up. And that’s when we started to talk about sand dollars. So we started to look at more organic shapes. We realized, it’s a creature, maybe the shape is not quite that perfect. Then we said, let’s just try for a second to integrate those shapes in the clouds and see how we can hide them. We took the idea of the flying saucer and we were looking at referencing iconic ones from old-school sci-fi movies. Léandre Lagrange: It basically went all in one go. You could just go to, how do you open? Is it a clam? But the fact that he said that notion of origami was definitely very helpful, and to a point that the first sketches that I did and the first things we talked about were actually what we went for in the end.ī&a: Was the origami-like unfolded entity designed first? There’s the idea of the flying saucer and the shape of it.
This was super helpful because, straight away, you start looking at different things. The one other thing that he mentioned that was immensely helpful early on was he just talked about the notion of origami.
And how you go from one to the other, obviously, which was definitely the interesting part as well. Jordan said, how could we have a creature, an animal, that could look like a flying saucer that everybody thinks is a UFO? And then the other thing was, how can I then, later on in my film, reveal what it is actually? So he wanted to think of it as those two states the flying saucer state, and then an open state, if you will. And instead, that it’s actually a creature or an animal, something that is actually grounded in the animal kingdom that is thought to be those UFOs. What he asked us was, imagine that the lore of the UFO has nothing to do with little green men and flying saucers or stuff like that. He had a script that was very simple in a way. Léandre Lagrange: When we first got approached, it was to design a creature and to design the relationship to that creature with the skies. B&a: What can you tell me about the brief for Jean Jacket?
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