Renowned filmmaker Christopher Nolan is well-known for his meticulous and secretive approach to storytelling, especially evident in his upcoming adaptation of Homer’s epic poem “The Odyssey.” Production designer Ruth De Jong, who joined forces with Nolan once again after “Oppenheimer,” shared her experiences during a panel at the Middleburg Film Festival, where she was honored alongside costume designer Ellen Mirojnick and editor Jennifer Lame with Variety’s Creative Collaborators Award.
Collaboration in Secrecy
De Jong explained how the process was enveloped in a shroud of confidentiality from the very beginning. “There are no scripts emailed, sent or discussed on any form of device. Everything is in person, which I love about him,” she noted.
Upon receiving the script, which she read in just three hours, De Jong inquired about the creative restrictions. Nolan’s concise response, “There aren’t,” opened the floodgates for her imagination. “Working with Chris is the closest thing. It’s equivalent to playing basketball with Kobe Bryant. He’s truly the ultimate collaborator and coach,” she remarked, acknowledging the enormity of the project while also expressing her initial uncertainty about the practical execution.
Bringing Ancient Worlds to Life
Nolan’s vision for “The Odyssey” required bringing iconic locations to life, from the fall of Troy to Circe’s home, and De Jong executed this across six countries: Morocco, Greece, Italy, Iceland, Scotland, and the United States. She emphasized the importance of building practical sets that resonate with authenticity.
Mirojnick and Lame shared a similar journey into this creative collaboration; Mirojnick noted that they were invited to Nolan’s home for an initial reading of the script. Nolan explicitly stated that he did not want to create a traditional “sword-and-sandal movie.” Rather, he sought something fresh that broke Hollywood tropes. This vision paved the way for Mirojnick’s monumental task of creating over 5,300 costumes, including a detailed approach to the armor and garments of various armies like the Trojans and the Spartans.
Costume Concepts and Character Depth
Mirojnick explained the importance of fabric choice, particularly linen, which provided a versatile foundation for aging and distressing costumes to reflect the characters’ journeys. Meanwhile, Lame faced the challenge of editing Nolan’s characteristic non-linear storytelling, having trimmed approximately 2.1 million feet of 70mm IMAX film for the ambitious endeavor.
One particularly challenging sequence was the Polyphemus scene, where Odysseus encounters the Cyclops in a cave. Lame noted the abundance of compelling material created while crafting this segment, wherein Odysseus cleverly tricks the Cyclops into believing his name is “Nobody.” The resulting chaos predicates Odysseus’s perilous journey after he reveals his true identity.
The Making of Iconic Scenes
De Jong emphasized Nolan’s desire for the Cyclops to be portrayed practically within the cave. “We scoured a lot of places with some really cool, interesting caves, all of which we critiqued heavily,” she mentioned. Although they considered constructing a cave, she insisted on finding a suitable natural location. After scouting various sites in Greece, they finally identified a perfect spot that allowed for practical boat placements, enhancing the scene’s authenticity.
With Bill Irwin playing the Cyclops, the collaborative efforts of the visual effects team added depth to the performance. Lame shared insights on how digital enhancements were integrated during shooting to ensure seamless storytelling as the emotional connection rested heavily on the Cyclops’s eye.
A Grand Scale of Ambition
Reflecting on the monumental set design, De Jong revealed that the colossal Trojan set spanned 2.5 acres, equating to over 110,000 square feet. Initially scouted in Turkey, they struggled to find a suitable venue until discovering Aït Benhaddou in Morocco, which provided a rich backdrop for their elaborate set-building.
As the discussion regarding the narrative climax continued, Lame noted how scenes, including the beheading of Athena during the Sacking of Troy, slipped effortlessly into shape due to their integral place within Nolan’s script, demonstrating the seamless collaboration among the team.
Crafting the Trojan Horse
Conclusionary reflections led to the iconic Trojan Horse, which stood impressively at 35 feet tall. De Jong conveyed her vision for its design, aiming for realism that reflected the craftsmanship of the period, steering away from the simplistic aesthetic often associated with such props. Instead, she envisioned it being constructed from ship parts, demonstrating the ingenuity of ancient artisans.
“The two things Chris was eager to get into were the horse and the Cyclops, and conceptually figuring out what we were doing,” De Jong concluded, emphasizing that these practical builds not only served the film’s authenticity but also engaged the audience on a deeper level.
