Where did the pre-production happen and how long did you work on it?
I spend about three month in Morocco and was asked to go for a few more weeks to Pinewood later on. Unfortunately I had to leave earlier and move apartments back home which couldn’t be delayed any longer. I did about 20 illustrations from which only 15 made it to a final stage. Most of the paintings were cluttered with detail and very time consuming. Sometimes it happened that the shooting location was changing while working on the design and I had to start all over again.
Which concept/environment was the most challenging to create?
I think I spent about three weeks painting thousands of houses and hundreds of minarets for The ‘City of Alamut’. The size of the painting was about one meter high and 2 meters wide, and provided detail for several shots all in one image. We just wanted to make sure to give all the information to post-production for the final 3D model.
Did you enjoy the work and did you get any new experience from it?
Many 
Morocco itself is an experience of it’s own. I used to be a great fan of the unique drawing style of Wolf Kroeger, a great production designer and brilliant illustrator and draftsman himself. Working with him pushed the limits of the crew immensely and turned out the most amazing film sets I have seen in a period film so far.
Vielen Dank für das Interview und die Art-Works!
Visit Peter’s blog: L´inq
Weiteres Interview mit Peter Popken
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