Post

Jean 'Moebius' Giraud (1938-2012): "Collaborating on a project with a team is a shared effort and a constant stimulation. There is a “reassuring” side to working for someone; I find it less stressful. Basically, you’re not alone." Spaceship design by Moebius:

VFX supervisor Mark Stetson: "The movie's design was heavily influenced by the look of Seventies' French comic books, which made it really fun to work on. Although part of it takes place in a futuristic New York City, I think the setting is quite different from the Los Angeles of Blade Runner."

Mark Stetson had closed Stetson Visual Services just before The Fifth Element. His previous work was the tanker in Waterworld. He joined Digital Domain for The Fifth Element. Hello bigatures!

The Spaceshipper 🚀@thespaceshipper.com

Since I was asked, you can call large miniatures "bigatures". That's how I classify them (and I'm not alone, as it was apparently coined by Weta Workshop during the making of the Lord of the Rings trilogy).

Stetson (to ASC): "The flying cars are a lot more whimsical, and the city is set in broad daylight. The film is rooted in a much more utopian vision of the future than Blade Runner, which virtually defined the post-apocalyptic look of futuristic films for more than a decade."

Digital effects supervisor Karen Goulekas: "We worked for a long time to develop the look of the crust and lava, and the activity that occurs when they meet." It was made with Renderman, Prisms, Alias and proprietary softwares.

Luc Besson (to Entertainment weekly, back in the days): "Would I make a sequel? No, no. For me there's no point to go back to the same place. No matter how much you love a film, the fun is to try something else. Otherwise I'm going to do Fifth Element, Sixth Element, Seventh…"