Design for Steampunk Film - Adapting 20 000 Leagues Under the Sea

For my final project on the MA I was given the brief to choose a story to then adapt into a film, designing the set so forth as I had done for previous projects. The possibilities for adaptation were pretty broad, I could choose from any novel, graphic novel, short story, older films to re-envision/update, etc. Basically anything I wanted as long as it hadn't recently been made into a film already, as this would infringe and undermine my own design version.

With this in mind I started to consider what kind of set I wanted to design, as this would be my final chance to present my own design ideas on the course, the story I picked to adapt would need to provide a set that showcased my ability to its best. I had enjoyed developing the sets for both Dr. Jekyll and Batman the most but for different reasons. The Victorian era of Jekyll was one I wanted to explore again but it a more fantasy-esque style, as the set had been very grounded in reality. With Batman, I had also really enjoyed developing what was a more industrial, eccentric style to my design. A cross between the industrial and Victorian styles of these two sets, but more removed from reality, really intrigued me. With this in mind I began gathering research on Steampunk.

Over the last few years I have become massively inspired by the Steampunk movement, amassing my own small collection in books, graphic novels, artwork, anything really. This gave me a massive boost as alot of research time was saved by already having a strong idea and understanding of the style I wanted to create. The only thing left was to pick an actual text to adapt! Going through many Victorian novels I finally settled on 20 000 Leagues under the Sea, which I had read about a year before and immediately loved, especially the description of Nemo's Nautilus.

Before I began to develop my design I had to put forth a bound proposal of what I intended to do and give me lecturers an insight into what I would be doing over thee next three months, this helped to give me a strong sense of clarity and structure to my project.

The proposal is as follows....

Synopsis

Written in 1870, Jules Verne’s Classic follows the story of Professor Aronnax’s adventures under the sea. A marine biologist and expert in his field, Arronax is recruited to hunt down and determine the identity of an unknown menace that has been terrorising ships the world over.  Together with two companions he eventually finds the creature and uncovers that in truth it is a revolutionary, man-made submersible called the Nautilus. Secretly designed and constructed by the enigmatic Captain Nemo, the Nautilus is the first submarine built and, as a result of being unknown to the world, has been mistaken by many nations as an, as yet, undiscovered sea creature of terrifying size.

Fig. 1 – Book Cover for Penguin Edition

Although the three companions are treated with great generosity Nemo explains to them that they can never leave the Nautilus now they know the truth of the vessel. The story then follows the journey of the Nautilus as Nemo makes his final tour of the world’s great oceans and seas. During which Arronax relishes the opportunity to research the various species of the sea in a way he could never have believed possible. Nemo, an extremely well educated man and peer of Arronax’s, shows him around the Nautilus and it becomes clear that the Nautilus holds everything that he could hope to occupy himself with for the rest of his life, from an extensive library to a collection of many fine works of art.

During the story they travel to the heart of the Antartic, uncover the ruins of Atlantis, hunt in forests on the sea floor and battle a swarm of colossal squid. Whilst onboard the Nautilus Arronax begins to realise that Nemo has severed all his ties to the civilised world, for reasons that remained shrouded in mystery throughout the novel. From the clothes they wear, to the sheets they sleep under, and even the tobacco they smoke, all materials used on board have been harvested from the sea in defiance of the imperialistic civilisations on land. The vessel itself is portrayed ever increasingly as an extension of Nemo himself. He has created a life of complete freedom for himself in which the civilised world has no place or say. Although Arronax and his companions initially enjoy their time on board the Nautilus they begin to long for home and concoct a plan of escape. Eventually they get their chance during a gigantic maelstrom, a freak storm that creates a whirlpool so large the Nautilus is sucked down with seemingly no resistance. Arronax and his friends are nursed back to health after being discovered on a nearby beach but Captain Nemo and the Nautilus are never heard of again.

Design Proposal

For my design of the Nautilus I shall be designing the entire of the exterior of the submarine but only a number of interior sections where the majority of story and action take place. However, I shall consider the entire layout of the interior to give an idea of continuity between the sections that will be built and those that won’t be. I believe this will give a much more realistic impression of the overall shape and plan of the Nautilus. The interior section I will be building are the living quarters of Professor Arronax and his two companions Ned Land and Conseil, as well as Captain Nemo’s quarters and his organ, the library, the grand salon, the engine room and the bridge.

Fig. 2 - The Library

Fig. 3 – The Grand Salon

Many of the compartments aboard the Nautilus are described as having retractable shutters that close over the porthole in each room. When the view of the ocean is on show it is either pitch black, or lit up by the exterior lights. Therefore, I will have to incorporate a green screen for the panoramic shots of the ocean when it is on show, and also consider the CGI elements of a shot when it is pitch black outside but the occasional creature/ object is glimpsed nearer to the glass.

Fig.4 - View from a porthole, close up objects 

are visible while the background is shrouded.

Style and Influence

Verne’s novel is set during the Victorian era and I plan to keep it in this time frame, I will however be giving it a more fantasy/sci-fi feel by incorporating a number of Steampunk elements that will slightly remove it from reality. This will be reflected in my prop as well as set design but I hope to strike a balance between authentic Victorian styles and the more futuristic concepts of the Steampunk genre. Fig.5 – The Nautilus, The League of Extraordinary   Gentlemen, Volume I. It is revealed in a later book, The Mysterious Island, that Nemo’s true identity is Prince Dakkar, the son of a Hindu Raja. Therefore my set will incorporate an element of Indian architecture and decoration. The 2003 film, The League of Extraordinary Gentlemen played heavily on this back story when designing the Nautilus; however I will be using it in addition to a design style that celebrates the ocean.   By incorporating these themes I will develop a design that contrasts the industrial aspects of a submarine (pipes, vents, etc) with the more ornate details of Nemo’s past and heritage. This will further reinforce my Steampunk concept by giving the Nautilus an ornate yet industrial feel. As I mentioned earlier I want to incorporate authentic Victorian props with those of my own design. For example, I hope to develop a number of designs for the nautical equipment Nemo has designed for him and his crew to use, such as the electric guns and underwater suits they wear during expeditions along the ocean bed.

Fig.6 – Barber’s Pole, Sweeney Todd (2011).

In the past I have designed pieces for theatre by taking an existing aspect of the set and giving it a Steampunk twist. The two examples below are from my set design for Sweeney Todd: Demon Barber of Fleet Street that was heavily influenced by the Steampunk genre.  While these are helpful in describing my past work for my major project I will be working on a much smaller section. Thereby ensuring a higher level of professional detail.

Fig. 7 – The Oven, Sweeney Todd (2011).

Another influence on my design will be the art work of H. R. Giger. Unlike the Steampunk influences that are more strongly represented in my design, I have looked at Giger’s work more loosely. His style creates a successful relationship between the nautral design of mammals and the bionical coldness of machinery. As my design is inspired by the ocean’s animal and plantlife, and that the Nautilus is at first believed to be a sea monster in the novel, I was naturally drawn to how Giger makes the connection between machinery and biological shapes, rather than replicating it.

Fig.8 – The Interior of the Giger Bar, Switzerland.

 It is important to mention that Giger’s work is only a starting point for my research into the design of the Nautilus and that my own work will be extremely different by the time I have finished developing my own, unique design. Giger’s work is extremely recognisable and it is the idea he has presented (above) more than the finished piece that I am really interested in, rather than referencing it directly.

Initial Research –

The World Below the Waves.

My research into marine life will be useful for considering the environment the story takes place within, but also as a source of inspirational for the set and props too. The image I have collected here are perfectly suited to the underwater ‘forests’ that Verne describes the characters exploring in one chapter of the novel.

Steampunk Inspiration

The examples here formed the starting point of my research into the style and textures I wish to convey. I found the bio-mechanical look of Vladimir Gvozdev's Steam Zoo work particularly inspiring.The balance he strikes between machinery and the natural design of sea creatures gave me a clear style to begin my design with.

Having spent a while gathering research and outlining my design idea I began to design a rough model of the Nautilus which I will present in the next blog.