![]() Production designer Patrice Vermette took Villeneuve’s conception of the Harkonnen world as a nightmare of industrialization run amok and extended that to every aspect of the visual environment. “I’m in love with the color black and I’ve been dreaming for decades about creating a world made out of one color with a lot of sensuality and high design.” Designing the Harkonnens’ home world ![]() “I came in with this idea that they will be probably the most evolved beings in this world, the richest and most sophisticated, and that their technology will be disconnected from nature,” Villeneuve says. By contrast, Villeneuve envisioned the Harkonnens’ Giedi Prime as a highly advanced but colorless world, devoid of any semblance of vegetation or natural light, to the point that its inhabitants have evolved to become ghostly pale and hairless. Lynch’s film, which was widely panned and ultimately disowned by Lynch himself, invested the Harkonnens with a slightly cartoonish, steampunk-inflected aesthetic. “I wanted to get away from a feeling of decadence and more toward a feeling of power.” “I was trying to bring him closer to the spirit of a gorilla than a fat baby,” Villeneuve says. ![]() ![]() Villeneuve and storyboard artist Sam Hudecki spent weeks brainstorming approaches to the Baron’s physicality, trying to convey a sense of muscularity along with corpulence. “Dune” director Denis Villeneuve discusses several significant departures from the sci-fi classic source material. Movies Why ‘Dune’ made these 5 key changes from Frank Herbert’s book ![]()
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