Few French production designers demonstrate more ingenuity and panache than Hugues Tissandier. After debuting with the Uruguayan prison drama "The Eyes of the Birds", Tissandier joined forces with director Jean-Marie Poiré for the friends reuniting comedy "Mes Meilleurs copains" and the spy farce "L'Opération Corned-Beef". However, it was their recreation of 12th-century France for "Les Visiteurs" that drew plaudits and sufficient box-office to ensure more time-travelling mayhem followed five years later in "Les Visiteurs 2: Les Couloirs du Temps". But Tissandier and Poiré parted company after the good vs evil romp "Guardian Angels" and he produced smart interiors for a trio of Francis Veber comedies -- "The Jaguar", "Le D"ner de Cons" and "The Closet" -- before forging a new creative link with Luc Besson. Tissandier once again revealed his affinity for medieval France with "The Messenger: The Story of Joan of Arc". But he was faced with an altogether different challenge in creating the fantasy realm of the Minimoys for the live-action/CGI hybrid "Arthur and the Invisibles". He has since returned to the seven kingdoms for "Arthur and the Great Adventure" and "Arthur 3: The War of Two Worlds". But Tissandier excelled himself with the early 20th-century-set comic-book actioner "The Extraordinary Adventures of Adéle Blanc-Sec", although the forbidding urban locales he has fashioned for tough crime thrillers like "The Transporter", "District 13" and "Taken" have been equally effective.