I have spent over 30 years in the entertainment industry. I have worked at both the agency and studio level designing everything from key art to home entertainment, outdoor, merchandising, trailer graphics, logos and streaming artwork.
At no time in my career have I ever been part of something as iconic as the Godzilla Cinerama Dome project.
What started as a basic, rough thumbnail sketch progressed through countless 3-D models, hours of finishing, and months of preparation that culminated in a larger-than-life Godzilla breaking through the famed Hollywood Cinerama Dome.
When we first got the project, we were tasked to do “some sort of takeover” at the Dome. At Drissi, we had previously wrapped vinyl around the theater, but this movie required something bigger, something epic.
As a team, we came up with several ideas and decided to put everything into thematic “buckets.” We had a lot of very creative ideas, but I remembered my art teacher who told us KISS’s old rule: “Keep it simple, stupid.” And here, the simple concepts seemed to work best. It took the whole team working in tandem with sketch artists, designers and writers to figure out what we would need to do to build out our concept. The concept we chose was from our “Destruction” bucket.
We had a strong presentation, and I wanted to present it “old school.” We printed one-sheet size boards and arrived at our client’s office with multiple of them, which seemed appropriate given the epic assignment. I must hand it to our client at Warner Bros., they had the idea of doing something at the Dome that had impact, and they connected with our vision immediately.
However, the presentation was just the beginning. Once the concept was approved, we had to regroup at the office and start to figure out how the heck we were going to do this!
It took all areas of our business to accomplish this, from concepting to sketching, design and 3-D modeling, to the production and engineering of the final product. We had to get creative in making Godzilla’s skin texture at that scale. We worked with large-scale prints draped from the roof of our office so clients and filmmakers could come by to approve, one of them being the director himself, who commented, “That’s my monster.”