Interior Russian Space Station Fuel Module, Plans. This set stretched from the stage floor to the perms 40 feet (12.19M) above. It had to open down its length and the panels behind the ladder had to wild for the camera. Oh, and it had to blow up.
Interior Russian Space Station Fuel Module, section. We had to make sure that Ben Affleck could negotiate the entire length of the set, even when there was no ladder. We put in a BUNCH of flanges and rings he could hold onto.
Interior Russian Space Station Fuel Module, Developed elevations. We had the mandate that if it wasn't in the drawings then it wouldn't get built. So these were some of the most detailed drawings I ever did.
Interior Russian Space Station Hub Module, Plan. All the sets were on risers so actors could climb up and down openings in the floor. This was the first sci-fi I ever did. Baptism by fire I guess.
Interior Russian Space Station Hub Module. Reflected ceiling plan.
Interior Russian Space Station, Hub Module. Elevations and sections. To all of our amazement, construction built every nut and bolt we specced out. The mind boggles.
Interior Russian Space Station Corridor. Plan and reflected ceiling plan. in addition to the detail that got built, our art directors took six tons of aircraft salvage and dressed the interiors OVER the built units.
Interior Russian Space Station Corridor. Elevations.
Interior Russian Space Station Corridor. Sections.
Interior American Space Shuttle Ready Room. Plan and elevations.
Interior American Space Shuttle Ready Room. Sections.
I don’t think I have ever enjoyed working on a show as much as I did Armageddon. We had an enormous budget, and our mandate by Michael Bay was to have all the sets finished (dressed, lighted, and ready to shoot) on day one. This meant that we had a ten-month lead time on the project! Unheard of, even in 1998! We also had a huge department for the period, fifteen set designers, five concept illustrators, four art directors and four assistant art directors. I was one of the two lead set designers on the project. I did the interiors of our ‘Russian Space Station’ so I did the plans and elevations for each segment of the set (Which was one huge, contiguous set) and handed the details off to eight set designers working under me. I roughed out details as they worked. It was the most creative responsibility I had ever had prior to art directing and I loved every minute of it. I also did some of the best pencil draughting of my carrier. I am afraid that the scans of some of the drawings are a bit wonky, but I hope that they communicate the scope and quality of my work. Most of the drawing sets were as big as thirty or forty sheets. It was not until For All Mankind that I ever exceeded that page count. It was Epic.
