Adaptation Part B - Coney Globe Tower Further Research

The most ambitious and unusual amusement park projects for Coney Island was announced in a newspaper ad on May 6, 1906 in the New York Herald.

Advertisement Information

• Offering investors "a ground floor chance to share profits in the largest steel structure ever erected...the greatest amusement enterprise in the whole world...the best real estate venture,"
• The ad explained that it would cost $1,500,000 to erect. The public was urged to invest on the expectations that it would pay 100 % interest annually. 
• There was a cornerstone laying ceremony on May 26, 1906. It was complete with speeches, band concerts and fireworks. There was a rush of investors at the Glove Tower Company office built next to the first socle. But by the end of the 1906 season, when the foundations were still incomplete, investors became anxious. 
• Another ceremony was held on February 17, 1907. A band was on hand when they put the first piece of steel in position. The company claimed they were driving 800 concrete foundation piles, each 30 feet long and five feet in circumference. They promised that half of the eleven floor structure would be open to the public on May 15th and the remainder would be fully operational the following year. 

Premise Information

• For Samuel Friede a structure in the shape of a globe or sphere that was subdivided into floors, was simply a source of immense square footage that needed a tiny point of contact with earth to support it. 
• The tower's blueprints showed a gigantic steel planet that had collided onto a replica of the Eiffel Tower. As a whole it was 700 feet high, three times as high as the Flatiron Building.
• The Globe Tower would be the largest building in the world with enormous elevators to carry visitors to its eleven completely different floors. It would be an agglomeration of Steeplechase, Dreamland and Luna Park, all contained in a single interior volume. 
• Leasing a small corner of the Steeplechase property on Surf Avenue to erect this colossal structure. The structure would be supported by eight enormous socles (pedestals) whose foundations would be 35 feet deep. Underground was planned as a multi-level interchange of various modes of transport: a combination parking garage, subway and railroad station with a branch heading out towards sea to connect with the boat pier. 

Construction Information (Very important information)

150 Feet

• The Globe would be divided into eleven floors, beginning 150 feet above the ground and spaced at intervals of fifty feet. The lowest or first level would feature a Pedestal Roof Garden with a popular priced restaurant, continuous vaudeville theater, roller skating rink, bowling alley, slot machines, etc. 

250 Feet

• At the 250 foot level there would be an Aerial Hippodrome seating 5000 people. It would feature four large circus rings and four immense animal cages; each ring representing a different continent. Performances would be continuous and a miniature railroad would circle the arena's perimeter. 

300 Feet

• The Globe's Main Hall would be located at the 300 foot level. Here would be the largest ballroom in the world and a moving restaurant enclosed in glass. A revolving strip twenty-five feet wide would carry tables, kitchens and patrons around the outer edge of the Tower to give the effect of eating in an airborne dining car. Diners would have a moving panoramic view of Coney Island, the countryside and Greater New York.

Hotel Floor

• Friede, who envisioned continuous 24 hour use of his Globe Tower by its 50,000 temporary residents, planned a hotel floor at the sphere's equator. Rooms would be small but luxuriously equipped and padded with sound proofing for undisturbed sleep. 

350 Feet

• Fried's floor layout implicitly used social stratification. The facilities were increasing refined and elegant the higher one would ascend. The level above at 350 feet would feature an Aerial Palm Garden, a more expensive restaurant with tables scattered in a palm garden with cascades of running water each screened from each other by shrubbery. It was to be arranged on the Italian Garden plan. 

500 Feet

• The Observatory platform was at the 500 foot level. At the highest platform in New York visitors could use coin operated telescopes to see more than 50 miles. There would also be a souvenir stand and various small concessions. 

600 Feet

• Near the tower's top at the 600 feet level would be the United States Weather Observation Bureau and Wireless Telegraph Station. It would be equipped with modern weather recording devices. And at the very top would be the largest revolving searchlight in the world. The tower itself, lit by thousands of electric lights, would resemble a gigantic tower of fire. 

Adaptation Part B - @Alan Coney Globe Tower Idea

After my tutorial with Alan earlier this week, I left with the motion to revisit my idea stage and search for something to better enable me to design mechanically. The debate was also to consider the idea that the sense of the theatrical should be left alone, but in the ideas I had after the tutorial I came across an interesting concept that could possibly be considered.

Coney Globe Tower Scam

In the early 1900's a developer by the name of Samuel Friede bought a steeplechase field and offered investors a 100% return on their investments annually. The plan was quite grand scale and the floor plan was quite illustrious, this building would tower over the Flaitron building which at the time was the tallest building in the world. The entire investment was a scam but perhaps my Adaptation project could be to bring to life this ridiculous grand scale building. Scale it and have a fly through advert that would coax in 'Investor's' into an idea that is completely insane.

Coney Globe Tower Research

So the site of this build would be near the Coney island strip, it would dwarf buildings around it. Taking it to the side of theatrical I guess. The only way I could describe it is to the Brighton I360.

 
I had the idea of incorporating a 'Microsoft Buddy' into this tour of this unmade construct, I watched a few Fallout advertisements with a 2D character that would compliment the voice over. Plus the video effect would be key also. So this character(s) would compliment maybe the restaurants and social spaces of the Coney Globe.

Maybe this aspect isnt needed but I thought it might be a good addition. But modelling a construct like the Coney Globe Tower and advertising it to a 1900 market with designs and filtering effects.

Adaptation Part B - Victorian style choice for 'Captain Nemo's Lounge'

After my tutorial last week I reviewed some film stills of the fifties '20,000 leagues under the sea' adaptation, I saw how small and cramped the space could potentially be. For my adaptation however I would like to explore big scale spaces. To elaborate I mean mimic the sort of grand scale Victorian architecture you could expect to see from an esteemed individual.

This sort of clean cut architecture could be adapted into the nautilus, using the extracted text I have acquired. I could imagine the hull and rivets of the nautilus hidden with overlays of this grand design. Huge porthole windows to view out the ocean floor, both on the floor of the ship and the sides.

Adaptation Part A - Types of Suicide Statistics

What method of suicide? 

Gun Shot

                                     Drug/Alcohol Overdose                                     

Hanging

Poisoning

               Carbon Monoxide Inhalation                

Suffocation

Jumping

Exsanguianation

Electric Shock

Drowning

6,122 People died by suicide in the UK
4,630 Men (76%)
1,492 Women (24%)

- I could have these statistics form onto a piechart up above, that breaks down and displays the information by transitioning between the two.   

Adaptation Part B - Questions to ask before committing suicide - Questions List

Here is a comprised list of some of the questions that could be asked in the infographic to inform the audience of the necessary thought processes that should be taken before committing such a desperate act. 

• Who are you leaving behind? Consider the likely responses of those you leave behind i.e. how family and friends will react to the news of your choice to end your life, what impact it will have on them; what impact it may have on your work, business, clients.
• What method of suicide? Consider carefully how painful the selected method is, and whether your desire to die exceeds the likely pain, and risk of a failed attempt.
• What are you funeral arrangements going to be? Consider whether you wish to be buried, cremated, or leave your body to be donated to medical science. 
• Have you tried everything that can help? Consider the use of prescribed anti-depressant medicines to combat the negative emotions that can push you to those lengths. Talk to someone either a family member, friend or a professional.
• What are your reasons for living?(Or what were they?) Consider not only the family and friends that you could leave behind, but the things you could achieve in the future. Have you achieved everything you wished you could?
• Is it possible things could change? Consider your immediate and long-term future, think about how you can help heal yourself and how others can feed into that also. Studies show over 90% do not eventually die by suicide.

There are two possible directions that I could choose for this infographic and I believe that a humorous approach should be reviewed also. Perhaps this could be an informative yet dark infographic. Below are some of the questions I feel could fall into that dark humor. Some questions overlap so its up to choosing which ones are the best method of engagement.

• What method of suicide? Consider carefully how painful the selected method is, and whether your desire to die exceeds the likely pain, and risk of a failed attempt.
• Who cleans up? Consider the immeasurable task of cleaning up the mess that's left behind, depends on the method chosen, talk about the procedures of cleaning up and the inappropriate waste of time it has on others around you..(Traffic?)(Quarantine?)  
• What will happen to your body once you die? Consider the immediate effects, falls into place just after choosing the method of suicide. Could the face be dismembered? Could the body be pulverised? - Speak about funeral arrangements and prepping to scare off any unsure individuals.
• What will happen to those you leave behind? Consider family and friends and indeed love interests, show statistics of the effects of leaving. Depict the loneliness of the act.
• Who will be there at the funeral? Consider mentioning the potential lack of attendees at the event, or perhaps the amount of sorrow you'll be making others have. 

Adaptation Part B - Initial Ideas @Alan

Initial Ideas for the project

I was instructed to think of things to adapt that mean much to me on a personal level. The more personally engrossing the better time I will find working on this project for the 14 week period we have. So here is a basic outline for some of the ideas I had to showcase before my tutorial tomorrow.

Adapting Gary Jules's 'Mad World' 

Imagine from the lyrics a story surrounding a growing child looking after a degrading terminally ill parent, with an underlying tone of misery > hope.

The Life Of Abbie

A fondness of the pet I grew up with since I was 3 all the way till I was 19. She was estimated to be 126 dog years and to create an animation from a collage of memories we shared together.

Designing the fabled car Carrol Shelby died before making

Camilo Pardo the designer behind the 2005 Ford GT, claims that he and Carrol Shelby were working on a new car just before Shelby passed away in 2012. Creating a hybrid vehicle that embodies the best of Ford and Shelby into one prominent design.

Game about the fear of the dark
Nyctophobia is a fear most seen in children, to create a game about a child's journey to find its parents in the middle of the night. The obstacles being enemies made from the minds construct of outlines in inanimate objects. (Hanging coat becoming a monster once in the dark).

Character OGR

Character - Initial Clown Art and Balloon Comparison Ideas

Narrative - Man Vs Machine - My Written Screenplay

Okay so this is my initial attempt of writing a ScreenPlay for our Animation. Im trying to incorporate the sounds and lighting we wish to achieve into the writing and I hope to give the impression the Man the Animation is comfortable to increasingly paranoid.

Any criticism is appreciated and I do apologise if its presented in the incorrect format, it is my first time doing this sort of writing. 

-- Rhys

'UNTITLED ANIMATION'

Screenplay written by Rhys Wadmore

Version # 01

Sound Fade In:

Ext. Quiet Street - Night

Through the ambient sounds of a SLEEPING CITY, we hear feet shuffling coming closer and closer toward us. A smashing of GLASS, car door OPENS and Brushing sounds just before it SLAMS abruptly, fidgeting as someone attempts to spark two wires. Sound of an ENGINE stirring with excitement and a STEADY ACCELERATION.

Fade In:

Ext. Bumper Shot Pan

The Lights of a vehicle are shone out into the camera and the front bumper and grill of a car is seen, the car is travelling at an average speed and the sound of the engine is PURRS along with the camera as it pans up to the BONNET.

Int. Car -Low Angle Shot

An obscured man is seen behind the wheel of an attractive automobile, driving, watching the road ahead while exploring the confines of the interior space with his other hand. He searches his upper jacket pocket and reveals a SMALL BOX.

Int. Car - Rear View Mirror Shot

The SMALL BOX is bought closer to the man's mouth, opened with his free hand and a single CIGARETTE is taken out and placed into his mouth. The man leans forward and a short CLICK is heard.

Int. Car - Inside Glove Box

The GLOVE BOX is opened by the man and he reaches for a handful of random cassette tapes and retracts his arm and places the tapes onto the SEAT beside him and closes the GLOVE BOX.

Int. Car - Low Angle Shot

The man multi-tasks driving and looking down onto the SEAT beside him browsing through the tapes with one hand, the name of the tape he chooses is seen briefly on the back--

Tape is inserted and a WHIRRING sound is made.

Int. Car - Rear View Mirror Shot

The man leans forward slightly as a CLICKING sound is made as a spark ignites beneath his lips and the CIGARETTE is lit, a deep INHALE ---

and EXHALE as the music from the Cassette plays quitely builds.

Ext. Car - Driver Side Rig Cam Shot

The man extends his left hand outside the window resting on the side of the car as the sound of the music fills the air and smoke puffs out the side. The sound of a PASSING cars and light appear to the sides of the car.

Dissolves Out with the PASSING LIGHT:

Ext. Car - Driver Side - Front Wheel Rig Shot

Lights a reflected by the BODYWORK of the car, (Insert Saul Bass Colour Palette). The Sound of the wheel ROLLING against the Tarmac as the car begins to come to a crawl.

Ext. Traffic lights - Shot down

A CHAIN of lights are shone down onto the bonnet and windscreen of the car as it screeches to a steady halt, Other vehicles are in view but are dull silhouettes compared to our car of focus. Except one car that is a few cars behind.

Int. Car - Dashboard Cam

The Man leans forward to get a closer view out the front windscreen and into focus comes the words SOUTH BEACH and UPPER EST written backwards as part of a reflection. The man looks left and right making a decision and before the Traffic lights change a REPEATED CLICK is heard.

Ext. Street Sign - High Angle Shot

A CIGARETTE is flicked past the words SOUTH BEACH, Camera focuses and as the acceleration of the car builds to speed, we refocus onto the car journeying towards a NEON LIT landscape. The SOUNDS of the car begin to die down the further away it travels. Another Car follows slowly in the same direction.

Int. Car - Low Angle

Man reopens SMALL BOX to see its there is one CIGARETTE left, places it inside his mouth deep sigh as he throws the empty box toward the SEAT next to the camera. A slight CHINK is heard, Man ignites new CIGARETTE--

Focuses in on CIGARETTE light

Man inhales and exhales smoke once more--

Ext. South Beach Sidewalk - High Angle - Static Shot

New music pours into the scene from the establishments littering the area --
The car pulls over slowly in front of brilliant NEON lights, stops centre frame and the man applies the HANDBRAKE. Man sticks out his head slightly to observe the area. The sound of a second car

Int. Car - Rear View Mirror Shot

The man readies himself to disembark the vehicle, turns OFF the ENGINE the focus of the camera zooming slowly through the back window of the car showing the audience the second car thats pulled up a little way behind the car.

Ext. Car - Wing Mirror Shot

The man opens his door slowly and takes his time getting out, the door of the car that follows the man also opens in sync. The door the camera is on pauses to open fully, so does the door of the car that follows. SOUNDS INTENSIFY

Int. Car - Rear View Mirror Zoomed Shot

The camera fully centred throw the back window of the car the man SLAMS the door and shifts back into the seat, staring into the rear view mirror. Lights fill the side of the shot focusing in on the two men sitting in the car waiting-- SOUNDS AND LIGHT INTENSIFY

Man looks back slowly, then sharply forward

Int. Car - Low Angle

The man still staring at the Rear View Mirror struggles to reach the seatbelt over his right shoulder, and slowly CLICKS into position. The man places the key into the ignition slowly--

Distorted sound floods the scene and becomes uncomfortable

Ext. Car - Back of car panning down

The man turns the key in the ignition and the engine ROARS into life, Lights turn back ON, the car SCREECHES its tyres and kicks up smoke, Handbrake DISENGAGES, car shunts backwards because of TORQUE and the car speeds off through the smoke it creates.

Int. Numerous Abstract Shots.

-- Cameras detail the inside of the car while the man is speeding away, Focuses on the GEAR STICK when he's shifting up, in key with the ACCELERATOR and CLUTCH. SPEEDOMETER increases and so does the aggression of the vehicle. Wheels screeching as he sharply turns left and right, Objects shift to show the direction of gravity.

Ext. Slow Zoom From Front Bumper To Mans Face

The camera pans up from the Bumper to show the audience this build up of smoke the car has kicked up, the distorted and unclear lights, the sounds of passing vehicles and the progression of sound the car is making. --
Camera reaches mans face and continues to zoom in

Ext. Parallel Follow Camera Shot

Audience is shown the car leaving the clouds of confusion that had been left in its wake. Sounds are left behind the car as the car speeds away from the distortion.

Int. Over The Shoulder Shot

Focuses over the mans shoulder to the -- THANK YOU FOR VISITING -- sign shown on the RIGHT hand side of the road, the man follows sign passing him and looks through the back window, as a red light is shown ahead of the man and fastly approaches.

Fade to Black --

Sounds of the man applying the BRAKES to the vehicle and spinning out of control, GRUNTS, Sounds of CLANGING bodywork and SMASHING glass. Car hurtles out of control and sound goes quiet

Fade in --

Ext. Slow Zoom From Side Of Car

The camera slowly zooms through the kicked up dust and smoke the car has created due to a horrific collision, A Single BRIGHT LIGHT shines through the smoke. A rim rolls toward the camera and spins as it comes to a halt. The car is overturned and the man is left mangled in the crash, lying to the ceiling of the car--
Camera enters car

Sound of FLAMES igniting and a distant sound of sirens glowing ever closer in the air, a very faint red and blue light gradually builds in the smashed window.

Cut To Black.

Man Vs Machine - Story Workshop Aftermath & Research

Man Vs Machine

"His Knees Steadied, His Heart Beat Fiercely And He Began To Run Again"

My group Stride Animation has constructed a story from the aftermath of the workshop. The experience was enlightening and shed some light on elements we can use for a proposal for animation. The ending sentence is sourced from Blair Witch Project and that film is littered with abstract shots, close ups and values highly sound design to increase tension. So the first step to strengthening our story is looking at what makes a high speed chase so intense and the shots we can create to illustrate that. Below is the summary of the story - The overall jist

_________________________________________________________________________________

- We hear smashing glass and hot-wiring as a man breaks into a car. He seems quite pleased with himself speeding down the street and enjoying himself. It soon comes apparent to the audience he is a criminal on the run from the law, he notices a warrant for his arrest and paranoia sets in. Street lights turn into flashing blue lights and the sounds around him are amplified, he thinks someone is shooting at the car when in fact its a car backfiring. The criminal speeds up even faster, tension builds as he thinks the threat of apprehension gets closer. He goes through a tunnel where he focuses and calms down, realises he's being paranoid. As he leaves the tunnel speeding still he is seen speeding by a real police car and a crash happens fades to black.

_________________________________________________________________________________

Bullit (1969)

1968 Ford Mustang 390 GT 2+2 Fastback.

Quantum Of Solace (2008)

Aston Martin DBS V12

Gone In 60 Seconds (2000)

Ford GT500 Shelby Cobra

___________________________________________________________________________________

Reviewing some iconic car chases there are actual set camera placements that compliment different actions for the driver. Placing the camera about the car could give us a sense of what kind of shots we can aim to produce. But before that we need to choose a Time and Place for this animation to take place. Somewhere that compliments whats going on in the 90 seconds and doesn't add any un-needed designs to our animation.

We ultimately aim for the point of the animation to be clear to the audience so perhaps simplistic and stylised is really the way to go.

The Journey

Narrative - Man Vs Machine - refining some initial ideas

I've done some more thinking about the ideas my group could use for the story workshop tomorrow. Its to my understanding that we should receive our genre then, helping us refine the story a little further.

I uploaded an initial ideas post a few days ago but I feel like I should annotate a little further on some of the things I might have touched on.

Man Vs Machine

'His knees steadied, his heart beat fiercely and he began to run again'

Wall-E (2008)

Wall-e is a great example of the direction I wish for our group project to go for. Its about the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind. It also represents independence for a machine from going from being a 'worker bee' to becoming a self sufficient machine.

 

For a period of time Wall-E wasn't independent and was in a way shunned by humanity and we feel sad for the machine because the films done from his point of view. Seeing how lonely he can be in his little shack and how the journey is from him being a designation of cleaner obsolete robots, to becoming a respected individual when he saves humanity. A large jump from cleaning streets, something he was designed for.

 

Artificial Intelligence



I want our group to incorporate some form of artificial intelligence, its the safest way to give the machine form and personality. Plus it might help the audience understand that the machine is developing.

 

-Perhaps the machine was made to assist humanity in some everyday activity, along the way the machine is abused and misused? And toward the end of the animation we have the machine realize it can do something for itself and begin independence.

 

Ideas for story workshop

• A Tool like Microsoft Word 'Clippy', designed to assist computer users. It begins off being a tool that helps the user but after pestering to help the user consistently the user throws the tool to the side of the screen, into the recycle bin, basically shunning it. It ends with the user no longer using the computer and the tool begins to make work instead of assisting.
• A 'Car Arm' machine that is capable of helping design vehicles, the company buys it or commissions the building of the machine and the designers who work with it start discriminate it. Start pushing it away from its work. So it finally is pushed outside of the company and thrown into the trash heap, where it designs a brand new machine and engine that amazes everyone.
• A machine built for war is reactivated in a dense forest and starts to retrace how he ended up where it started, it quickly realizes that when it encounters something new it releases a new armament. It scares itself by harming the wildlife and begins to despise itself. Something convinces it to 'Live on' and the machine begins a new path.

These are just a few ideas I had that could be spoken about more in-depth, but I will probably come up with more after the workshop and it needs to adhere to the 90 second animation restriction.

Good Omens : Drawing Aziraphale ( David Wenham)

Adaptation & Professional Practice Part B - Crowley Designs

Adaptation & Professional Practice Part B - Casting Aziraphale and Crowley

Crowley

I looked through a wide variety of highly recognisable male actors to produce the spark I need to casting Crowley and placing his character. I wanted a charming smooth talking actor that can flip into becoming quite serious and if needed to be quite evil in nature. Here are the names for the actors from top left to bottom right

• Benedict Cumberbatch
• Zachary Quinto
• Keanu Reeves
• David Tennant
• Robert Downey Jnr
• Ian Sommerholder
• Johnny Depp
• Russell Crowe

Aziraphale

I wanted to direct the angel role to an actor who looks clean cut, formative and can be perceived as upper class from the way they speak. Aziraphale is also described to be an eccentric Librarian, a collector of items and because of this I have chosen specifically these characters. I feel that when I look at them they fit the role I personally wish to assign, also the characters they play in some films seems to fit the criteria for the role perfectly. I have chosen to look at;

• David Denham
• Harrison Ford
• Alex Pettyfer
• Martin Freeman
• Paul Bethany
• Jude Law
• Leonardio Di Caprio
• Joseph Gorden-Levitt

Adaptation & Professional Practice Part B - Possible Modelling Style

Looking into the art styles of Backwater Gospel in more depth I have taken to the styles well and look to incorporate the style into my own working. These are the planes from the character designs for the Tramp, separate planes that have image planes UV mapped to them and then simply curved round to sculpt the head.

 

 With the front plane there was a grid that displayed all of the tessellation and it seems like the modeling has been done upwards to fill out and form the face. Then it seems like plane is curved from the edges to form round the then would be face.

 Then they simply marry up the planes and from what I could derive from it is that the back of the head (hair plane) isn't warped round and is instead pushed up to make a flat back of the skull.

All of the head assets are very low poly with low tessellation, with most of the detail actually coming from the textures instead of the detail made from the model. The mouths are interchangeable and marry up to the facial expressions made by the character.

 

Telltale Games - Good Omens Inspiration

The Wolf Among Us

 The Wolf Among Us is set in the year 1986, decades before the events of the first issue of Fables. For years, many of the magical and mystical lands described in myth, legend, and folklore (known colloquially as "the homelands") have been occupied by an enigmatic tyrant known only as the Adversary. To escape the Adversary's marauding armies and totalitarian regime many creatures and characters known as "fables" fled to the mundane world and created an enclave known as Fabletown in colonial America, now located in modern-day Manhattan. To mask their presence from the native humans (referred to as "mundies") all non-human fables have to purchase an enchantment known as a "glamour" which allows them to appear human, or be relocated to a rural community known as "The Farm". 

The Walking Dead : The Game

 The game opens with Lee Everett on his way to prison after his conviction in Atlanta, Georgia. In route, the deputy sheriff's car in which he is travelling strikes a walker and careens off-road. The officer is killed in the crash, and Lee takes shelter in a nearby home, discovering a little girl named Clementine hiding in her tree house. After learning that her parents had previously left for Savannah, Lee offers to protect and care for Clementine, and help her find them.

Game Of Thrones : The Game

At the Red Wedding, the Stark bannerman Lord Gregor Forrester and his heir Rodrik are killed by the Freys. Lord Forrester's squire Gared is sent to the Wall to escape the revenge of the ascendant Boltons, and his daughter Mira, a lady-in-waiting for the King's bride Margaery Tyrell, looks for support for her family at the court in King's Landing. But the young heir to House Forrester, Ethan, is nonetheless killed by Ramsay Snow, bastard and enforcer of the new Warden of the North, Roose Bolton, in order to gain control of the Forresters' valuable Ironwood reserves. Lady Forrester sends her brother, Malcolm, to search Essos for her son Asher.

Blackwater Gospel - Good Omens Inspiration

As long as anyone can remember, the coming of The Undertaker has meant the coming of death. Until one day the grim promise fails and tension builds as the God fearing townsfolk of Backwater wait for someone to die. 

Bo Mathorne - Director
Arthur Gil Larsen - Animation Lead
Mads Simonsen - Technical director
Thomas Grønlund - Animator
Rie Nymand - Animator
Esben Sloth - Art Director
Martin Holm-Grevy - Environment lead
Tue Toft Sørensen - Animator

Music composed and performed by:
Sons of Perdition

Adaptation & Professional Practice Part B - 70/80's Tv Attire

I have combed through everything I could to find out what year that the book 'Good Omens' takes place, it only states what places the book takes us to. So taking this into consideration I thought using the date the book was originally published might be the best point of entry to designing my characters. The book was published May 1st 1990, but I have chosen to look at some British Television police drama examples for inspiration. I am looking to put the characters in a 85-90's environment, I think the following are good examples to designs their costumes into.  

The Sweeney

British police TV series which revolutionized the genre on UK television in the mid-1970s starring John Thaw as a hard-edged detective in the Flying Squad of London's Metropolitan Police.

Life On Mars

After being involved in a car accident in 2006, DCI Sam Tyler (Simm) wakes up to find himself in 1973, the era of 'Sweeney' type policing, Mark III Cortinas, and flared trousers.

The Professionals

This series chronicled the lives of Bodie and Doyle, top agents for Britain's CI5 (Criminal Intelligence 5), and their controller, George Cowley. The mandate of CI5 was to fight terrorism

Adaptation & Professional Practice Part B - Dogma Research

Dogma (1999) Is a comedy, adventure, fantasy written and directed by Kevin Smith. It stars an selection of well known actors/actresses; Matt Damon, Ben Affleck, Chris Rock, Alan Rickman, Linda Florentino and Salma Hayek. An abortion clinic worker with a special heritage is called upon to save the existence of humanity from being negated by two renegade angels trying to exploit a loop-hole and reenter heaven. 

The whole comedy factor in the tale is the fact that the antagonists are supposed to be quite angelic in both approach and appearance, but they are far from perfect. Swearing runs amok throughout the film to lighten the 'heavy' tone of religion and keep it as a spoof and something not to be taken seriously. The film even begins with a disclaimer stating not to take it to heart and enjoy the film, every film in a way can upset audiences in some way or another. But doing this, it feels like Kevin Smith could cover his ass while he makes a mockery of the catholic faith. 

The characters I look to highlight are Azrael, Bartleby and Loki, some of the films religious deities. Now Bartleby and Loki are the angels who have been sent to earth after a fall out with the big man upstairs, while Azrael is the demon creating havoc and looking to fuel armageddon. Bartleby and Loki are presented as 'a couple of guys' looking to get home. In a way we feel sorry for them and wish they succeed on their pilgrimage, then we find out that because of some stupid thing with reality keeps them away from heaven or all existence must pay. The only thing that the two characters have a connection with their spirituality is the tasks they must complete, they cannot contradict themselves because they are above humanity and therefore can pass divine judgement. Now instead of being presented as very powerful figures, they look quite normal don't they?

Adaptation & Professional Practice Part B - Initial Designs

Aziraphale Designs

Crowley Designs

Still experimenting with the costume layouts for Aziraphale and Crowley here and I think the best idea was to use the trench coat ideas from number 3 of each initial ideas. Then experiment with some designs that could be inbedded into the costume? adding symbolism into their designs.