Production designer Patrice Vermette, already an Oscar winner for his work on the first installment of the sci-fi epic “Dune,” describes his latest nomination for the sequel as “still overwhelming.” Speaking from Budapest, the Montreal-based artist detailed his packed schedule leading up to Sunday’s Academy Awards ceremony in Los Angeles.
“You’re floating on a cloud, basically,” Vermette said, recalling the wave of calls and messages he received upon learning of his nomination.
On Sunday, Vermette and “Dune: Part Two” set decorator Shane Vieau of Dartmouth, N.S., will compete for the production design Oscar against teams from “The Brutalist,” “Conclave,” “Nosferatu,” and “Wicked.” Directed by Denis Villeneuve, “Dune: Part Two” is also nominated for best sound, visual effects, cinematography, and best picture, a prize that would go to producers Mary Parent, Cale Boyter, and Canadian filmmakers Tanya Lapointe and Villeneuve.
Vermette crafted the film’s immersive visuals by drawing inspiration from Frank Herbert’s novel and its characters, including the inhabitants of the desert planet Arrakis, where massive sandworms lurk, and the stark black-and-white world of Giedi Prime, dominated by a black sun.
To ground sci-fi and fantasy designs in reality, Vermette said, it’s crucial to base them on logical principles. Previously nominated for Villeneuve’s “Arrival,” he emphasizes that design should interact with the environment. He considered factors like Arrakis’ 850 km/h winds when conceptualizing the city of Arrakeen, designing structures at angles rather than straight lines. Since sandworms respond to vibrations, he envisioned settlements built on rock instead of dunes.
To withstand Arrakis’ harsh desert climate, Vermette designed interiors with thick walls to retain humidity and block direct sunlight, incorporating light wells for illumination. He credits Herbert’s writing for providing creative direction while leaving room for interpretation.
For the imperial planet Kaitain, Vermette drew inspiration from Italian architect Carlo Scarpa, convincing Villeneuve to shoot at Scarpa’s Brion Sanctuary, an architectural marvel that had never hosted a film production. He recalled being deeply moved by its intricate design.
Vermette likens his approach to production design to that of a DJ, creating visual rhythm through space, scale, and proportion. Originally studying sound design with aspirations of scoring films, he transitioned into production design after filling in for an absent designer on a music video, leading to a successful career.
His collaboration with the late Jean-Marc Vallée on “C.R.A.Z.Y.,” “The Young Victoria,” and “Café de Flore” was pivotal, as was his continued partnership with Villeneuve on films like “Enemy,” “Prisoners,” and “Sicario.”
Now exploring architecture, Vermette is working with an international firm on luxury hotels in Saudi Arabia. While keeping details of his Budapest project under wraps, he remains firmly rooted in Montreal, calling it his “oasis.”
Source: Swifteradio.com
