According to Oblivion production designer Darren Gilford, the film's unique "bubble ship" was inspired by many real life machines, vehicles, and technology. One thing it wasn't based on was the male anatomy, the accusation that many Internet commenters have been making.
"I've been reading some of the reviews, so I cringe when I hear that," Gilford says with a laugh. He has a sense of humor about how some unique minds may have perceived his latest creation. "There was one review that said 'white testicles' and I went 'UGH.'"
Oblivion is Gilford's second collaboration with director Joseph Kosinski, a former architect whose penchant for meticulous design helped realize the vivid world of Tron: Legacy. Kosinski is a rare case, a filmmaker who brings all walks of life to the table when he's developing a movie, and whose background pushes him to treat his science fiction like science. "I think he's got a good balance between that and the artistic style," Gilford says. "The science definitely has to be grounded for Joe. It's got to be based in reality."
From the get go, Kosinski had a clear vision for how he wanted the world of Oblivion to appear. It was all about juxtaposition. "We wanted to have a really high contrast between the world above and the world below," Gilford says. "The world above needs to be a healthy, sterile, clean, clinical environment." With that in mind, Gilford set out to translate images initially drawn by Swedish graphic artist Andree Wallin into functional, fully-realized sets and vehicles. Oblivion started its life as a comic book so Kosinski could show off the concept to studios. Gilford knew those ideas would have to be pushed further for the movie version.
"Those very basic shapes and forms were the point of departure," he explains. "They all kind of came together when we developed looks and illustrations and we knew they had to be in the same family, in the same world." Gilford suggests that there wasn't a singular point of conception. Everything was designed simultaneously. Kosinski created a design mantra and it informed each moment of the movie. "When we started developing the sky tower, early on he said, 'I don't want any distortion,'" Gilford says. "'I want it to feel very anamorphic in an architectural style. I want the verticals to be true to the edges of frame.' That goes back to his eye for architecture and eye for photography."
Gilford says that even in the early comic book drafts, Tom Cruise's "Jack" traveled across the post-apocalyptic landscapes in a "bubble ship," inspired by Kosinski's love for old Bell 47 helicopters. "[It had a] big glass ball and a very dragon fly shape and it's got a tental structure on the back of it," Gilford says. "He always loved that for the visibility that bubble offered." Riffing on the design of the Bell also allowed Gilford's team to create something that suited their star's tastes. "Knowing that [Cruise] was a pilot and wanting him to be comfortable and in control, we did a lot of research in helicopters, the controls of a real helicopter. The collective, the throttle, how those elements work off the right and left hand. It goes back to what the Tet would have researched."
The Tet, the hovering pyramid that oversees Jack's work on planet Earth, also influenced the bubble ship's look. Again, Gilford wanted contrast. "The Tet is a triangle shape and the cockpit which was a sphere. It was very geometric." According to Gilford, Wallin's first sketches of the bubble ship had the engines as canisters, but the finished product went spherical. For the production designer, it's all about simplicity. "We always like to keep our designs based in clean, geometric shapes. Not getting too crazy organic or too liquid or too sculptural." Gilford's goals and influences revolve around the most basic shapes, because we perceive them accurately. "That was definitely the influence — not the phallic shape!"
Besides finding the bubble ship aesthetically pleasing, Gilford acknowledges that the script for Oblivion demanded the basic approach. "We needed to be 60 years in the future," he says. "The interior is influenced by the tradition of helicopters. Not the one from the floor, but from the console. The landing gear, all traditional helicopters. So the audience connects. The engines have a F14 fighter engine look. How they adjust and flaps direct the thrust — it's all based on influences that the audience is somewhat familiar with. We didn't want to go too far out of that."
Oblivion has a number of twists and turns as Jack falls down the rabbit hole and, in turn, Gilford's line of thinking for the bubble ship design had its own mindbending logic to grapple with. Beware, spoilers!
"The big reveal is that the futuristic aesthetic is a human projected evolution of what the aliens, the Tet, could gather from the human research," he says. Since Jack is being given directives from the invading aliens, not actual humans, the technology needed to feel as though it was interpreted by an outside perspective. "The fun part of that was that we could blur the lines in the beginning of the story. You want to think it's a human evolution of technology and design, but ultimately it's an alien design. The design aspect freed us up in that sense. We had to play in both sides of the story."
So really, blame any suggestive imagery on the aliens.
Oblivion is currently in theaters.
Follow Matt Patches on Twitter @misterpatches
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The end of the world as we know it is marked by a number of familiar tropes. When surveying an endless wasteland, one often encounters the same remnants of our once-thriving civilization. Certain types of structures always seem to endure the cataclysm and sometimes even serve as refuge for the last pockets of humanity. We also typically catch glimpses of the ruins of iconic landmarks both foreign and domestic. Such staples are certainly alive and well in Joseph Kosinski’s post-apocalyptic sci-fi actioner Oblivion.
But is it realistic? Which buildings, installations, and monuments, if any, had the best change of actually weathering Armageddon?
John Blood, Senior Lecturer at the University of Texas at Austin School of Architecture and an a previous collaborator of Oblivion production designer Darren Gilford, burst the bubble. Picture the grand old libraries that always seem to survive the nuclear fallout or world-ending natural event relatively unscathed. Is there something about these old book depositories that make them ideal havens?
“From a purely physical point of view, they aren’t that much different from other buildings,” he says. “Maybe they are designed a bit more stoutly; books are heavy so there’s a little bit more robust structure to them. However the forces of the disaster will do the same thing to libraries as they would to any other structure.”
Architect Mark Reynolds emphasized that proximity to nuclear strikes must be accounted for. “In the small towns situated tens of miles away from major metropolitan areas, there would likely be minimal property destruction and we would still find city halls, libraries, schools, etc.,” he notes. Reynolds further argued that thematic effect trumps accuracy in this regard.
“In my opinion, the reason they use nice old libraries in these movies is they are trying to contrast our high level of accomplishment and civilization against our advanced ability to destroy these accomplishments.”
In Oblivion, we see the charred, but very much still standing remains of the arena in which the last Super Bowl was played. Were these temples to athletic glory built to last? Blood cries foul, stating, “If anything, they’re just more exposed to the elements.”
Another remnant of the past Oblivion that Blood believes would remain are our bridges. It’s common in post-apocalyptic cinema to see the towers of great suspension bridges protruding out of the scorched Earth, or sometimes the sea. Once again, these function as signposts for humanity’s long-obliterated dominance of the planet. Blood suggests the likelihood of bridges surviving nuclear fallout in some form isn’t that outlandish.
“Certain bridges are meant to be simultaneously light and graceful and symbolic, and last a good long while, but they’re made out of steel and stone just like anything else.”
Suddenly, Blood pulls up a poster for Oblivion that features Tom Cruise standing before the remains of what appears to be the Brooklyn Bridge. He immediately spots an architectural inaccuracy.
“I can’t look at this thing without thinking it looks wrong,” he says. Blood points out the various cables, big and small, and the way that they’re positioned. The massive cable stands out. “It’s called a catenary, you just hold a string at two ends and that’s the shape a cable makes. But that cable is not going downward. In other words, those cables should all be sloping to the right. They should go down to the center of the Earth instead of back to how they were when it was an upright bridge. It’s just wrong. So we don’t have gravity in the future? The gravity on the cables is based on when the bridge was upright, they did not correct it for when they tilted it.”
Finally we came to the subject of those obligatory fallen landmarks. By this point, Blood’s curiosity was piqued. As we discussed the structural durability of national monuments, he was watching an Oblivion trailer.
“If anything they’d be more fragile,” he says. “The Statue of Liberty keeps cropping up everywhere, doesn’t it? It’s in Planet of the Apes, and one of the asteroids just happened to hit it in Armageddon. But yeah, they would be more fragile. There’s a thin layer of copper [in the Statue of Liberty] that is about the thickness of a penny. That thing particularly would not last.”
Blood then came to a particular scene in the trailer that had him totally puzzled, and one that further casts doubt on the staying power of national monuments post-annihilation. After the cataclysmic events prior to the action of the film, the Washington Monument and The Capitol remain.
“That’s just silly,” Blood says. “What happened to the rest of the city of Washington D.C.? There is nothing stouter about those two landmarks than any other structure in that town.”
Reynolds also stresses the dubious nature of these landmarks withstanding the apocalypse. He points out that “reinforced concrete buildings can withstand the blast in the peripheral areas, but most of our major buildings, stadiums, and monuments are concentrated at the ‘bulls eye’ and therefore, most buildings would be destroyed.”
Oblivion production designer Darren Gilford says any inaccuracy is done for the sake of the audience. Watching Tom Cruise run past a unrecognizable skyscraper simply wouldn’t be interesting.
“I think you've got to play to the cinematic icons,” Gilford says. “I think if it was a generic building that could have been anywhere, I don't think it would have been as impactful.” He says the existence of Independence Day and Planet of the Apes are proof. There's something that resonates with an audience when they can see an iconic piece of architecture that they relate to that's obviously been put in a situation that's alien to their typical expectations or memories.”
So where would our architects of destruction seek shelter in the event of doom and calamity? Their congruent responses should sum up the faith we should all place in any building withstanding any sort of apocalypse.
“Underground. Unless it was a flood or tsunami, but if it’s anything that has any kind of dynamic action going on, I would prefer to be in a hole underground,” Blood confesses. Reynolds adds, “Underground or earth covered structures are the best shelters in the event of an apocalypse, however, if 23,000 nukes were set off, the air, water, and food sources would be irradiated and very few people would survive.”
Additional Reporting by Matt Patches
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WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
It’s been four years since we last saw columnist Carrie Bradshaw (Sarah Jessica Parker) and her faithful best friends--Miranda (Cynthia Nixon) Charlotte (Kristin Davis) and Samantha (Kim Cattrall). The years have been kind to them: Charlotte is living her dream life with her loving husband Harry (Evan Handler) and adoptive 3-year-old Chinese daughter; Samantha has moved to L.A. to manage her boy toy Smith’s (Jason Lewis) acting career and give monogamy a chance; Miranda is a working mom in Brooklyn juggling her demanding career and her marriage to Steve (David Eigenberg); and finally Carrie now a bestselling author who has settled into domestic bliss with her beloved “man friend” John James Preston aka Mr. Big (Chris Noth). Domestic bliss? Carrie and Big? Is that possible? Well let’s just say the road to happiness still isn’t smooth for any of them (save maybe Charlotte) but the film’s outcome is a wholly satisfying experience. For our four lovely leading ladies reprising their Sexy alter egos must have been like riding a bicycle. Parker Nixon Davis and Cattrall defined their SATC roles so succinctly during the HBO show’s six-year run that watching them again feels as if they never stopped. Parker especially eases right back into Carrie mode albeit older and wiser. Gone are her earlier youthful hang ups about commitment replaced by a stronger more mature Carrie--who still has her quirky insecurities. And of course her fabulous one-liners still fly fast and furious (“I need to get out of this Mexi-coma” is a personal favorite). Oscar-winner Jennifer Hudson adds a fifth element to the proceedings as Carrie’s smart and sassy assistant who has firm belief in love. The men of SATC also fit right in again. Noth’s Big in particular continues to frustrate but ultimately becomes the man we all knew he could be. The road to a big-screen adaptation of Sex and the City was also not a smooth one. After the show ended in 2004 there were immediate talks about doing a movie version. But not everyone in the cast was ready to continue the gig--namely Kim Cattrall who decided she needed a break (and possibly more money). Still through the perseverance of producer Sarah Jessica Parker and writer/director Michael Patrick King SATC The Movie finally became a reality--and we are very thankful that it did. Many fans just couldn’t let go after the show’s series finale; they wanted more. And so the film gives back in spades bringing us back into these women’s lives for awhile longer--almost to a fault actually. The half-hour TV show was perfect but a SATC film at two hours and some change drags a little in the middle. There’s also the fact the film is certainly grander glossier in scale than the more grounded TV show. Nevertheless it’s just what the doctor ordered for those lovers of all things Sex and the City. Bring on the sequels!
Joe Bowers (Luke Wilson) is about as average as one can get. He’s an electrician working for the Army doesn’t have any family. In other words he is perfect for playing a guinea pig in the government's new Human Hibernation Project. Joined by Rita (Maya Rudolph) a street-smart hooker who needs to hide out for a while they are to be kept on ice and revived a year later. But when they awaken they find out that they're almost a thousand years into the future. The project was forgotten and scrubbed their hibernation pods became landfill--and now Bowers is the smartest man on Earth. They meet Dizz (Dax Shepard) who's addicted to a lounge chair a bungling doctor (Justin Long) and the president/pro-wrestler (Terry Crews). Guess this means prognosticators--hoping for a better more intelligent future--are dead wrong.. Idiocracy effectively becomes a bunch of one-liners spliced together which really doesn’t do any of the comic talent justice. Still all the performers play rather believable idiots. Wilson turns on his easy-going charm as the least dim-witted bulb in the bunch (but never quite gets what Rita does for a living). The affable actor always shines brighter in a movie that doesn’t have “romantic comedy” in its description. Rudolph does her usual Saturday Night Live shtick while Long (Accepted) as the doctor who checks people in and out as if they were in a Jiffy Lube is hysterical even if the one-note hospital gag gets a tad tiresome. Crews is also pretty clever in his role as the dunderhead president who can't figure out how to save his planet from starvation. Why haven't you heard about this movie? Well that's the true Idiocracy. Fox seems to have rushed this little gem out failing to promote it in anyway much like they did with the cult hit Office Space. Ironically both are directed by Mike Judge (of Beavis and Butthead fame). Judge has put his finger on the pulse of what's wrong with this world and gives a bleak social commentary about our future. For example his version of the classic film of the future is a giant naked butt expelling intermittent gas every few minutes. That kind of fart film is the wave of this future run by live-action Beavis and Buttheads. Maybe Judge means to say that the people of Idiocracy’s future--who watch the Masturbation Channel and Fox News (yes that survives) and shop at stores bigger than small cities--are the descendants of those who run the studios today. Or maybe not.