By Bill Desowitz | Thompson on Hollywood March 30, 2012 at 5:59PM
"Gary and I realized that there was an opportunity to use the control room to help tell the story [beyond the book] without having to describe and explain things," Duggal continues. "We were ahead of Katniss and you can go to the control room and see a map of where she was in relation to the other Tributes, so it was a way for us to show that the gamemakers were in control and they could actually change any aspect of what was happening in the arena at any time [with fire balls or creature mutations]."
First, Duggal studied future EY and screen technologies and moved the hologram in a fresh direction by bringing it to the desktop. This allowed the gamekeepers to have complete manipulation and to visualize it in a cool way. "Gary wanted a dystopian/utopian society with roots in the Third Reich and the German World Trade Fair, but Gary was also specific about wanting the integration of form and to see grandeur in the city. But I wanted to bring things that would take us into the future," she adds.
To help Duggal achieve this, she took a chance on a young concept artist named Reid Sothen rather than going with, say, Ben Procter, who designed the holograms for "Tron Legacy" and "Avatar." Then she hired Hybride of Montreal to do the animation and VFX. Best known for Zack Snyder's "300," Hybride was acquired several years ago by Montreal game designer Ubisoft. Therefore, Hybride had the right game-like aesthetic for the control room. In fact, the control room is part of a virtual city tour of the Panem Capitol developed by Microsoft for Internet Explorer 9 (with some of the assets provided by Hybride).