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Episode II Art and Architecture:
An Interview with Kurt Kaufman

November 16, 2000 — When not helping envision the new concepts of Episode II, Concept Artist Kurt Kaufman tries to find time to illustrate for himself, for relaxation.  “I’m usually just too burned out to do that. But when I’m not working here, I do traditional and computer illustration, professionally and recreationally, to keep my skills up. Landscapes, vehicles, architecture.”

His subject matter is not surprising, since this is also what Kaufman worked on in Episode II. “If there’s a focus to the work I do, then I’d say it’s mostly architecture,” he says, “and a lot of background and scenic shots. Very little of what I do is establishing the initial look. Mostly I extrapolate on looks that have already been established by some of the other designers. But I’m doing a lot more concept design on this film than I did on Episode I.”

Kaufman studied transportation design while at Art Center College of Design in Pasadena. The move to Los Angeles exposed him to the world of film. “My dad was a car designer at Ford,” explains Kaufman, “and I thought I would probably do car design or product design of some kind. But when I was in school I got disillusioned with real world design, and became intrigued with the film industry. Of course Star Wars was very inspiring, but when I saw it, it never really occurred to me that I could actually work on something like that. That was such a world apart from where I was. But when I was in school Alien and Blade Runner came out. Those movies really inspired me, and I started thinking seriously about working in the film and entertainment industries.”

After graduating from Art Center, Kaufman worked in LA as a freelance designer and illustrator for about five years. He eventually landed a job in northern California, working at Industrial Light & Magic, where he met Doug Chiang in the ILM Art Department, along with a crew of other very talented artists including Iain McCaig. Later, when Chiang was organizing the Art Department for Episode I, Kaufman was brought on board.

“Kurt is one of those great team members who can bring a lot in from his experience,” says Chiang. “He’s an industrial designer, so he complements the team really well because he can fully flesh out environments and vehicles. He approaches it from a very practical design point of view, and brings to it aspects of reality. The designs look like they can work. It’s one thing to have people who can draw things really well, but it’s another to have people who can really figure it out and make it look like they can function.”

For Episode I, Kaufman joined the team later in the game, and much of the concept phase was already completed. His contributions, however, were important for the Animatics Department. “Mostly what I did on Episode I was filling in blank areas behind the live plates that had been shot. There was a lot of architecture as well, predominantly Theed, Coruscant and Tatooine.”

When The Phantom Menace moved into post-production, Kaufman moved to the ILM matte department to work on finished shots. “A sequence I worked on that comes to mind is the sequence where Obi-Wan, Qui-Gon and Jar Jar are in a Gungan submarine. It comes up out of the water and it’s the first time you see Theed,” says Kaufman. “Matte painting is all done digitally now; it’s a combination of digital painting and assembling other elements. These shots had some beautiful miniature models in them. It’s a major team effort at that point.”

For Episode II, Kaufman was brought aboard much earlier, and worked on both concept designs and storyboards for the major action sequences. “I prefer doing concept design.” says Kaufman, “For me, it’s a lot harder and more demanding, but it’s also more rewarding. I like being involved in the whole process, though. Hopefully after the Art Department is done, I’ll get to go down to ILM and work in the matte department again. Following through on the final art is really rewarding as well.”

Kaufman’s transportation design background served him well for Episode II, in the design of a Naboo bus that will be seen in the film. ” I try to work in my car influences, but it’s difficult because it’s not the real world, plus I’m trying to predict what George Lucas is going to like and what Doug is going to like. But definitely my automotive design education has helped me get to this point.”

Another scene Kaufman’s particularly looking forward to takes place in a shadowy abandoned district on Coruscant. “I did a concept for that scene, so it’s mainly mine with some of Marc Gabbana’s influence.”

Collaboration is key in the Art Department, and Kaufman has worked closely with Jay Shuster, Ed Natividad, Marc Gabbana and Doug Chiang. “Doug is the one I get most input and direction from, and some of the work is shared. A lot of what the other artists do influences a lot of what I do. And, of course, in many ways it’s all derived from George’s original vision.”

Kaufman’s own style has grown in his time with the Art Department, which he credits to the caliber of artists he worked with on a daily basis. “It’s much more disciplined here. There’s less focus on technique, and more focus on design and composition. ” he says. “Some of my work in the past was comparitively loose and sketchy. My work has come a long way because I’m working with people who are really motivating, inspiring and some of the best in the business. Working here at the Ranch on Star Wars with this crew has definitely been a high point in my career.”