American Cinematographer - March 1989 - 74

Creating an Industrial Organism on the Edge
by Ron Magid
The chance to create

an

entire civili¬

zation from the

Prior to

joining the Life on
the Edge production, Eyth had storyboarded an early version of Cap¬
tain Eo and worked as a conceptual
designer on Flight of the Navigator,
Masters of the Universe, Big Top Pee

world of the film had to be built
from scratch. Working on a mi¬
nuscule

budget can be a most frus¬
trating experience for a production
designer/art director team, espe¬
cially on a film whose scope was as
broad as that of Life on the Edge.
Somehow, Eyth and Stuart turned
this obstacle into a huge asset, cre¬
ating one of the most memorable

72

film-worlds since Bladenmner.

ground up was
what attracted production designer
Ed Eyth and art director Mike
Stuart to Life on the Edge, a most
unusual futuristic fantasy. From
technology to toiletries, the tubular

American

Cinematographer

Eyth began work first, de¬
signing the things that would later
become Stuart's responsibility to
translate into three dimensional

re¬

ality. "The joy of working on a show
like this with

a

science fiction basis

was

the fact that

Wee, and the ill-fated remake of

ing

an

Journey to the Center of the Earth, as
well as the Captain Power TV show.
Stuart's credits include Flight of the
Navigator, Masters of the Universe,
Beetlejuice, the upcoming Abyss,
and Captain Power, where he work¬

says.

was a great way to
imaginations. In a stan¬
dard contemporary film, every¬
thing is already created, whereas
with this, we were able to explore

ed

another dimension."

primarily

as a prop
on the

ture builder.

Life

his first time

as

March 1989

art

and minia¬
Edge marks

director.

we were

establish¬

entire technology," Eyth
"There weren't really any

rules, which
open our

Also exciting to Eyth was
the chance to bounce his ideas



American Cinematographer - March 1989

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