A list of projects, including some never released titles, sorted by release or start of my involvement year.
Artwork in the Production Design and Development categories is created by various artists for my project team or art department, as credited.
The image use is courtesy of and © the respective clients or / and oliver scholl design, inc. All rights reserved.
Jon Watts and Chris Ford invited me back (after Spider-Man: Homecoming), to help create this Odyssey through never before seen parts of the Star Wars Galaxy. A dream assignment!
The second Venom feature I designed was done in Leavesden, UK, for San Francisco. My favorite part was the Cathedral concept inspired by the Notre-Dame fire and reconstruction, and Ravencroft.
Designed and built crashed spaceships and more in Atlanta. A very quick and fun assignment for Doug Liman.
The first iteration of Venom was produced @Blackhall Studios in Atlanta, with a brief location shoot in San Francisco. My favorite part of the design challenge was the Life Foundation, nestled into the hills north of the Golden Gate Bridge.
Homecoming provided an incredible opportunity to delve into the MCU and address Jon Watts' question of what a group of kids' school life would look like in a world where superheroes are real.
Designed some concepts for vfx and built a destroyed interior set, tying into what was shown un-destroyed before by PD Chris Glass.
David Ayer's Suicide Squad provided plenty of opportunity to explore a darker side of design. In the end a great challenge and a lot of fun, especially with the great team we had.
This Cold War spy movie, set in Italy and Berlin but produced at Leavesden Studios outside London, was great fun to dive into with Guy Ritchie's take on action and great editing. It's all about period glory and genre tropes.
My first time working in London was amazing. When Tom Cruise and Doug Liman decided to collaborate on this SciFi, we were all in for a exhilarating and challenging movie making deep-dive. It's a project that I still get frequently asked about, and I'm very proud of it.
Designer Neil Spisak challenged me to join his art department and briefly create in his marine alien battlegrounds.
I was asked to do some exploratory VisDev with a small group of concept artists for this beautiful Akiva Goldsman Script. One of the rare cases of actually getting a full script so early in the process.
A more comfortable undertaking with this second batch of cover images for my favorite scifi series Perry Rhodan.
Based on The comics. J.D. Matonti contacted me to help visualize some of the story ideas.
My theme was more on the Bio-Mech side for this cool collection of artist's interpretations to "Mech"
Visual development for a Roland Emmerich Foundation feature film. In addition to our in house team of illustrators, I enjoyed working with a team of Aaron Sims vfx/ concept artists for added firepower. Especially given the amount and quality of artwork needed in short time.
Series of covers for german publisher Heyne, via editor Sascha Mamczak. It was fun to render ideas of the retro ships evoked in the novels by Marcus Heitz.
A fun short reunion with Roland Emmerich and Centropolis, Produced by Kirstin Winkler. Sadly the project stopped after some interesting California pre-production exploration. Timing is tricky, even getting smaller projects off the ground.
The idea for this was to tie the covers together by using the same ship design in different scenarios and environment colors.
The Red Empire . Organic spacecraft break through the red cover as through a space rift. A playful but strung graphic approach I hope.
My first collaboration with Doug Liman. Teleporting all over the world is fun, especially as the settings - New York, Michigan, Rome, Tokyo, Egypt - lend credibility to the fantastic abilities of the character. And are fun to design and realize for a movie, made in Toronto.
I've done few excursions into creature design. This one was real fun as I tried to convey a creature that takes its cues from cars and technical shapes, while staying organic.
Visual development for a evocative parallel worlds story by David Goyer, for a pitch to the disney team.
Thanks to Harald Belker, I was approached by Scott to contribute to this amazing collection about concept art.
Looking back, what I recall, the whole project seems to have been about a blood painting and dead cows in fields. Sometimes there's crazy projects ;)
It was great to spend a short time with Rob Bowman, boarding action sequence ideas and doing some concept art, in connection with a scout in Vancouver.
A really great experience to design the last manned supersonic fighter jet for Michael Riva. Mike was an amazing Production Designer and I'm honored to have had the opportunity to get to know him a bit.
Daunting to be asked by Editor Klaus Frick to illustrate covers for the stories I started reading in my early teenager years. the biggest challenge was translating Gucky. A character conceived way before GOG's "Rocket."
A very fascinating design and proof of concept exploration of an idea by Jim Banister and Alexander Seropian.
Then, I would have never imagined to one day be in the position of Neil or Michael myself, and production design a spider-man movie.
Our Time Machine, which I fondly regard as a Fresnel-lens studded crown jewel of period design and imaginative technology, came to life through the dedication and creativity of a collaborative team. I'm particularly grateful to Simon Wells, the great-grandson of H.G. Wells, who set the bar high from the outset with his challenge: it had to be nothing short of amazing. A special acknowledgment is also due to Matt Sweeney FX, who was actually able to build this gem out of aluminum, acrylic glass… and lots of ingenuity.
An always inspiring opportunity when working for Rick Carter, exploring some mood animatics that I'll add, once I figure out the best video integration here.
A great time working for PD icon and Star Wars Designer Norman Reynolds. This was all BC, before Computer so I'm having a hard time finding photos of my art. T.B.U. (to be updated....
It was a real treat working for academy art winning production designer Eugenio Zanetti. And this was the first time I used 3D (FormZ) on a project, here to generate the spiral staircase.
A very quick out of the blue assignment to help during vfx post, thanks to Alex McDowell. Some mood exploration and early 3D work in FormZ for the "crushers"
mY favorite part of Godzilla, besides of working in NY, Hawaii and Los angeles at the same time, was the big sets we were able to build: a destroyed Madison Square Garden, a little village in Hawaii, and all the fx/vfx model work. Then I also really enjoyed collaborating with, in this case creature designer, Patrick Tatopoulos.
My First time production design in the USA, teaming up with my friend Patrick Tatopoulos. With Roland putting the two of us together, he was getting a wide mixture of ideas.
An ambitious project that hired me in VisDev as "Visual Design Consultant", to do some initial concept art.
A Fun Medieval - SciFi Mash-Up done in Germany by Frank Bollinger, who really can realize anything.
My first time working with Alex McDowell, and Thomas Valentine was a great experience., seeing how they structure and tackle a project, and I got to design a tattoo and Chinese architecture.
This was a great project to be on, sadly it's all, again, BC (Before Computer) so I'll add more scans as I go through my pile of ancient color copies.
My first production design job. EVER. I like to think of it as: " Roland Emmerich threw me in the water, and I learned quickly how to swim, or at least not to drown. " Needless to say, I'm very thankful to Roland for having given me this opportunity, or as we say: It's all Your fault ;) You started me.
