“Then we just had the pop of red with the costumes, and that set for me was very successful because of the limited color palette,” said Mickle. The color palette was limited but striking, with fleshy, white and pink plant life scattered throughout along with a yellow liquid that ran everywhere. But, in addition to all the flesh, we had lots of mechanics, lots of metal piping, lots of metal hosing, lots bone architecture, lots of gadgetry attached to it all.” “We worked from a photo of a spaceship module that looked sort of flesh-like in its texture and other flesh references to come up with something that could feel like a biologically grown world. “For the Orgocorp planet, James said he wanted it to be all flesh,” Mickle said. The rest of the world building was just as imaginative, from the 300-mile-high red Arete skyscraper spacecraft in the shape of a cube, to the ’70s Counter-Earth planet, to the cold and sterile Halfworld lair of the villainous High Evolutionary (Chukwudi Iwuji), to his bizarre intergalactic bio-engineering company, Orgocorp.
“And so if you look, when Gamora is sitting in there, you can actually see the fabric gusset like a big ice pack,” Mickle said. Of course, it’s no ordinary toilet seat: It’s made from the same cotton material as old ice packs, courtesy of set decorator Rosemary Brandenburg. It all happened very quickly, and within two or three weeks of early concepts I had a rough pass and took it to James, and he was really excited by it.”Īnother fun fact is that they put a toilet on the Bowie, also pretty rare. “So we thought, OK, let’s put these colors onto the body of this. “I had never seen a wine-pink color in a spaceship,” Mickle said. She settled on teal and pink, which blended well together, and Gunn immediately approved. The production designer, who is one of the few women in the industry working on superhero tentpoles, also wanted a very special color palette for the Bowie.
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