By Bill Desowitz | Thompson on Hollywood December 19, 2012 at 1:30PM
Meanwhile, Hanisch, who's worked with Tykwer on seven movies over the past 15 years, says this collaboration was joyful in it its balance of independence and close communication. The thematic imperative on "Cloud Atlas," of course, was connection, so they decided to mirror the actors' reappearances and alterations with the same elements, starting from changing the Belgium chateau of the composer Ayrs (Jim Broadbent) into a Scottish country manor to having it re-appear as the 'uglyfied' retirement home, prison-like Aurora House. Or recycling whole sets such as the Papa Song Restaurant from the Sonmi story into the Starlight Bar of the opening scene in the Cavendish story.
"The Music Salon of Ayrs Chateau had been the heart and soul of our work, as one always needs a center cell to start with, building everything around this," Hanisch suggests. "We didn't wait for the real (exterior) location to match with it, but decided to lose the grand formal shape of such a representative room and crumple it down, according to Ayrs' character.
"In fact, we have called the final shape of the floor plan a 'shrunken old man's penis,' filling it with dusty old family treasures from the colonies (Ostrich eggs), mixing it with just upcoming 'modern' elements from the arts (Paul Klee paintings and abstract sculptures). Cause Ayrs would have been very close to this kind of development at the time and also to differentiate it from the formally close Adam Ewing story."
Although clarity about the specific looks of each period was a major concern, sometimes they looked closer than they would've wished. For example, the laidback '70s was almost too contemporary-looking because it has fashionably become retro 40 years later.
"Cavendish's vengeful brother is my most favorite side character, especially the way Hugh Grant has performed it," Hanisch offers. "We were very troubled to find a good location around Berlin with an exterior pool and looking British enough. When I realized the way the scene was supposed to become grotesque, I felt it was much more important to make it look cold and hollow. It's quite a good example how a set can frame a character and tell you about him in no time: 'What a bastard!'"
In the end, Hanisch says working with two units in parallel provided its own bizarre connections. "When would you have a chance to have another designer within your project, sharing thoughts or concerns, or just pop by, asking, 'Hey, don't you have a spare living room for us?' it's funny!"