Sci-Fi Moviescapes

Stephan Martiniere has a wealth of experience as a concept illustrator in groundbreaking movies, and in the science fiction genre in particular. He was kind enough to take time out to explain his process and how this in particular impacted on his work in I,Robot. This is a more complete version of the text which appears in the book.

Matt Hanson: What was your brief for creating the I,Robot material?
Stephan Martiniere: From conversation mainly, Patrick [Tatopoulos, the production designer] was also giving me some very loose sketches as well as photographic references for either material ideas or just feel.


Can you describe how you work up the concept paintings for I,Robot?

The process is very similar for each illustration. I start from either a loose sketch given to me by Patrick or one that I create. Once the sketch is approved Patrick and I discuss the feel, mood, color palette, and texture to be used in the illustration. From there I go directly to a detail painting which has taken me a week or two do produce. Patrick knows how I work and has always been comfortable waiting until the painting is almost at a final stage. Since my paintings are done digitally, in layers, it is easy to make changes at a late stage.

Having worked on quite a few science fiction films over the years, how do you think your work on them has evolved, and how do you think sci-fi has changed in this time?

After many years as a digital painter I have become more confident with the medium. After so many projects I acquired my own painting tricks and technique that are very efficient and personal. Painting digitally also led me to 3D which I foresee will become more and more a part of my working tools. Computer 3D is what changed sci-fi these last ten years. Special FX have become better and more ambitious, but so far it is mainly an evolution in the looks rather than in the stories and new ideas.

Do you do a lot of research for concept designs, or is it all imagination?

I tend to use my imagination more at the beginning stages when I’m doing concepts, and finding compositions, original and unusual shapes. I do more research when the concept goes into the painting stage to find a mood, some texture or particular elements such as street signs, windows, etc.

What has been your favourite film to work on, and why?

Three of them were my particular favorites. The first was the motion ride film The Race for Atlantis. This film was all CG, projected on a IMAX screen and view with 3D goggles. That film allowed me to create almost an entire imaginary world. It was conceptually very creative and the end result was stunning.

The second one was Star Wars Episodes 2 and 3, although I don’t know yet how much of my work made it to the screen. As a kid and burgeoning artist I grew up surrounded by the visual impact that Star Wars created. Many years later I finally had the chance to participate in the design for the sequels. It was like a dream come true.

The third and final one is I,Robot. This film allowed me to create some very intricate paintings that I considered being some of my best work for film to date. Seeing so many of these illustrations making it to the screen is extremely rewarding.

*This is an edited version of the full interview which is intended to reflect the true views of the interviewee in a fair and concise manner