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Before we got too keen with our hammers and nails, going about building a world for Carl to inhabit, it was important to get a good idea of what we were aiming for. Very much like Carl and his blueprints, I thought it would be wise to first create some concept art for how I envisioned the world to look like. Then, based off of these concept designs, the production design team and I rolled our sleeves up and got cracking on the actual physical building of items. Below, you’ll see some of the major elements of FLIT go from a drawing on a page to a fully realised object in the 3D world that you and I inhabit.
I started by first evaluating what I had in my possession; it wasn’t much. So I visited a recycling centre at the Edinburgh College of Art and my eyes lit up; bulging with imagined riches – it was stacked up to the ceiling with rubbish. Perfect. So I grabbed what I could and made an inventory of what I have seized – using the inventory to inform my drawing of the concept art – everything I drew in the image I had accounted for and knew existed.
Carl’s Fly Killing Machine went through numerous rounds of concept design; so many that I started to give each version and official MK number – the one we see in the film is MK. IV (very cool name).
Naturally any fly killer’s lab wouldn’t be complete without a suitable selection of anti-fly propaganda posters. The illustrator of these delights, Peter Tilley, really channelled his inner Carl when creating these.
Carl’s dingy lab wouldn’t be half as interesting if it didn’t feature a highly advanced fly civilisation behind one of its walls. The fly civilisation took many painstaking hours to design, and many, many more to actually build. Here are all of those endless weeks compressed into easily digestible chunks.
Now that we’d captured all of our footage it was time edit it all together and create the special effects fly.