This is a world that is very architecturally strong in its vision.
There is not a frame, there is not a building, there is not a set...
...that is not consciously riven out of Kurt's imagination.
Kurt is looking to establish...
a very powerful sense...
...of the strong, vibrant colours...
...that imbue this world.
I like work with Kurt...
...because he has very unique visual.
And he insists every composition of the picture.
So I like his vision very much.
Arthur Wong.
...is a phenomenal DP.
And we were very happy to get him...
...because he's an artist, but he's also a technician...
...and he makes life easier for everybody.
So he's amazing.
In Kurt's world, he wants spectacular...
clean, bright, graphical framing...
...structural lighting...
...everything symmetrical.
And that's my theme, in photography.
When we found ourselves faced with an inordinately complex set of sets...
...that we had to create...
I had come to China and to Hong Kong...
...to search out what possible Asian resources we could find...
...to work with us on the movie.
And I met James, and the pages of his book were filled with images...
...that were almost as though he had climbed...
...inside the imagination of Kurt Wimmer.
They were images of futuristic cities...
...images of futuristic weapons, images of futuristic costumes and armour...
...that were frighteningly identical to the kinds of things...
...that Kurt had been speaking to me about before I ever came over to Asia.
And so I put Kurt and James together...
...and they hit it off right away.
And as a result...
...the sets are different and interesting...
...and really cool.
One of the elements that Kurt wanted to suggest...
it that in this future world, there's an amalgamation...
...between Western and Eastern cultures...
...in the way the costumes have been fabricated.
The big theme of this movie...
...was disease, fear of disease.
And to show that with the extras and all of the background...
...with the soldiers and the uniforms...
...and all of the different stratas of this military society that we're in...
...even though they're armoured...
...and they're gunned and they're fearsome, they always have a mask.
There's always that fear of catching this disease.
So that was the big theme, on a costume level, to get across.
He's an enormously, enormously talented costume designer...
...in terms of what Violet wears.
And not only what she wears, but what the world...
...that she inhabits wears.
It's with whole colour blocks...
...the sets and the costumes. We really accented it.
We really brought it out with just these blocks of colour.
And she has this ability of being able to take a garment...
...and to, like a chameleon, change it to your environment...
...and she can change the colours of her clothing...
...depending on her moods or whether she has to hide with a crowd.
She can make her garments match into her surroundings...
...which, to a designer, is a real challenge...
...because instead of it being one outfit...
...and that outfit, she has a lot of action...
...and so you need to make multiples of this costume...
...now you have to do multiples of this costume in multiple colours.
So this one costume turns into literally 60 costumes.
Everybody has, along with Kurt...
...these are the stars of the movie...
...and Milla, it's just, visually this film is unlike...
...andything I've ever seen before.
It's so sharp, so beautiful..
...the lighting is so specific, the costumes are amazing.
Joseph Porro is a genius.
From scratch, has started all of these amazing, interesting, cool looks.
So all those things have come into play...
...to make a movie that's completely unique.
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