Story trumps re­al­ity in en­ter­tain­ment de­sign

Scott ex­plains how much time goes into cre­at­ing re­al­is­tic fu­tur­is­tic en­vi­ron­ments

ImagineFX: Sci-fi & Fantasy Art magazine - - Scott Robertson -

Con­cept in­fra­struc­ture artists and fre­quently ar­chi­tec­ture pre­dict years tech­nolo­gies,be­fore they’re seen in real life. Take the Mi­nor­ity Re­port, which fore­saw driver­less cars, fa­cial recog­ni­tion and touch­screens. How im­por­tant is it for these pre­dic­tions to be as ac­cu­rate as pos­si­ble – and to what ex­tent is this the re­spon­si­bil­ity of the con­cept artist?

“The amount of re­search that goes into pre­dict­ing the fu­ture varies de­pend­ing on time, money and the film­mak­ers’ in­ter­est,” says Scott. “The story drives this: on Mi­nor­ity Re­port, there was a strong goal to de­pict a plau­si­ble fu­ture world, so they con­sulted with a team of fu­tur­ists and those pre­dic­tions were shared with the con­cept de­sign team. “How closely these pre­dic­tions are fol­lowed dur­ing the vis­ual development of a story varies a lot, and if the so­lu­tions aren’t en­ter­tain­ing enough the re­search is usu­ally aban­doned for what­ever is re­garded as the ‘bad-ass-du-jour’ di­rec­tion. This is the big dif­fer­ence in de­sign­ing for en­ter­tain­ment ver­sus man­u­fac­tur­ing. Story al­ways trumps re­al­ity, as it should for en­ter­tain­ment projects. Au­di­ences have proven time and again their abil­ity to sus­pend dis­be­lief when it comes to ac­cept­ing far-fetched world-de­sign.”

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