Friday, December 19, 2025
'Avatar: Fire and Ash' Artisans on Designing and Building the World of Pandora
variety.com: Dylan Cole and Ben Procter divide the world-building responsibilities. The human world environments, vehicles and weapons fall under Procter’s charge, while Cole was responsible for designing everything related to Pandora and the Na’vi. “‘Avatar 3’ is a completely different scale,” says Procter. For example, the whale-like Tulkun return, but bigger and more vengeful. “You see an attack, not just by one Tulkun, but by an entire clan.” The Sully kids convince the clan to join Jake and the family as they defend their home.
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I’ll admit that I’ve only watched the first of three Avatar movies, but this article is still intriguing from an industry perspective. Production design is a world that I’m generally unfamiliar with in the film world. The production designers begin by talking through the scale of the visual world in regard to the plot. The color, perceived weight by materiality and size, the directionality, and the design connotations that people may associate with certain ideas are all items that an audience can and I’d argue should take for granted. To me, a mark of a good production designer is that while it may earn it, it doesn’t hold onto audience attention for more than needed. The article references 3D modelling and miniatures to test out ideas, but I would love to know what programs they modelled on, and how they made their miniatures (and what they prioritized and iterated on within that). I appreciate the way they thought about the visual composition of the whole frame, and didn’t focus on their ideas in isolation from each other. Particularly so, the mention of the backlighting effect on the ship.
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