Production designer Hannah Beachler got a crash course in Mesoamerican history. Then she took it into the future.
Hannah Beachler’s collaborations with director Ryan Coogler seem to keep going in unexpected directions. The production designer already won an Academy Award for creating the Afro-futuristic world of Wakanda in Marvel Studios blockbuster “Black Panther.
Talokan. He was telling me how he wanted this underwater world that is steeped in Mesoamerican culture. And he was thinking about Maya, and that was really important to him because we want to make sure we’re approaching that in the same way we approached Wakanda, with the same sort of integrity and ingenuity and understanding of that culture in order to make a new culture that stems from that.
You kind of go in knowing that the first thing isn’t going to be the thing, but it’s a place to start, and then you keep developing. I’m speaking to experts, and every day I’m learning something new. Like when I started learning about thermal vents, and basically, they’re powering Norway. It’s like, how would we use the thermal vents to power this world? You keep learning about that thing and then putting this sort of futuristic spin on it.
It was a long time because there was a lot of testing with materials. I think we tried every color that existed on Earth in the reds because that was a big one. We did a lot of tests digitally. We looked at that for months. And the jaw had to be built out of a certain material because we were going to put it in, and it had to work on the stage as well as in the [water] tank. It was really our first time working on a film that was using so much water practically. And we were learning on the job.
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