To watch the film in its entirety, click here to go to the Tribeca Film website.
In the six days of preproduction for 7x6x2 we had the arduous task of building an alien landscape and the sci-fi elements that were commonplace in Paul Pope’s work. We’d already begun the work on the seven rock people, and we’d turned our attention production design and art direction, which included a desert campsite that had one very specific distinguishing feature: a giant mek.
Meks in Paul Pope’s universe are far more than just robots, they are extensions of mankind’s ambitions and flaws. They are sentient beings with attitude problems, they are guardians and killers. Paul’s THB contains the greatest of all meks, the eponymous THB (aka Tri-Hydro Bi-Oxygenate), and the graceful and liquid lines of THB are tantamount to the very essence of Paul’s Meks. They are insectoid, organic and fluid.
Paul’s original script called for a massive terraforming mek that was downed in a barren wasteland, large enough to form a shelter for a lone repairman surrounded by seven creatures. Paul’s concept art shows the intended scale:
From a production standpoint, on a four-figure art budget with less than a week to build, replicating the mek on that scale and form would be an impossibility. We had to strip things down, but not lose the essence of Paul’s signature meks. We brought in art director Mike Conte, who’d done some crazy throwback sci-fi work for music videos and television. Also a bonus, Mike is the frontman and lead guitarist for one of my favorite metal bands of all time, EARLY MAN. You might say it was a match made in heaven.
Mike really starts killin’ it at 2:30
Mike not only had to build the mek, he was also responsible for all the sci-fi gear for both Bryce and Swanson, the young surveyor. This included laser welders, the camping gear, and the electronic workbook used by Swanson. The script also had a buggy transport for Bryce, but our budget and timeframe didn’t allow for it.
Mike started putting concepts together right away, because he had to source materials and start building in his workshop. One major consideration would be the transport of the mek - it had to be easily disassembled to be placed in a truck and reassembled the desert location. It also had to be designed to not just look like a pile of junk sitting in the desert, it had to have indications of a fallen robot.
Mike put together some initial concepts that were based more on Paul’s observation of lunar landings and early NASA concepts. He did 3D breakdowns for scale and measure:
It was a good starting point, but it needed to be bulked up and placed with a personality, hence it needed a face. Paul like the idea of a wasp / bumble bee, and Mike built a ‘face’ with dimmed eyes. The idea was to have a mek that had some power still left in it. Mike took two opaque domes and coated them in the luminescent liquid found in glow sticks. Low-tech solutions to high-tech problems.
With the mek and gear taking shape, it was important to Paul to ground all the elements in a tangible reality, and he wanted all the items to have brands and logos that signified an authentic and identifiable world. We employed the services of our longtime friend Jim Pascoe, who hands down is one of the most talented people on Earth. I’m not exaggerating. Besides being a design genius, Jim is also an acclaimed published novelist and international man of mystery. And he’s funny. And a great father and husband. We should all aspire to be men like Jim Pascoe. Seriously.
In true 7x6x2 fashion we asked Jim to create iconic brands and labels for the mek, for Bryce’s manuals and references, and for his provisions. Paul created space foods that were prevalent in his graphic novels, including things like PRO-JAK, PROACH and fruit hybrids. Jim belted out some awesomely hilarious labels that we affixed to tin cans:
Tribeca was concerned with Sony having modesty issues, so Jim modified that last label.
Jim also created a manual for robot repair and logos for Bryce’s gear and for the mek itself:
While a lot of this would never be seen in the film, it added a layer of authenticity to what we were doing, and helped create an atmosphere that we could all immerse ourselves in. I’d written about this some time ago when we included a copy of ZORD magazine in the film, ZORD being a tip of the hat to Blade Runner. The magazine was illustrated by cartoonist Sam Hiti and designed by Pascoe, and it’s a thing of beauty.
Put it all together, and you’ve got a believable alien world on film.
With production design chugging along, we turned our attentions to the human elements of the film - our three leads and their corresponding looks. We weren’t even halfway there, and we had four days to hold auditions, rehearse and source and fit costumes. It wasn’t getting any easier.