Eddie Brock attempts to reignite his career by interviewing serial killer Cletus Kasady, who becomes the host of the symbiote Carnage and escapes prison after a failed execution.

The second Venom feature I designed was done in Leavesden, UK, for San Francisco. My favorite part was the Cathedral concept inspired by the Notre-Dame fire and reconstruction, and Ravencroft.

A failed reporter is bonded to an alien entity, one of many symbiotes who have invaded Earth. But the being takes a liking to Earth and decides to protect it

The first iteration of Venom was produced @Blackhall Studios in Atlanta, with a brief location shoot in San Francisco. My favorite part of the design challenge was the Life Foundation, nestled into the hills north of the Golden Gate Bridge.

Peter Parker balances his life as an ordinary high school student in Queens with his superhero alter-ego Spider-Man, and finds himself on the trail of a new menace prowling the skies of New York City.

Homecoming provided an incredible opportunity to delve into the MCU and address Jon Watts' question of what a group of kids' school life would look like in a world where superheroes are real.

A secret government agency recruits some of the most dangerous incarcerated super-villains to form a defensive task force. Their first mission: save the world from the apocalypse.

David Ayer's Suicide Squad provided plenty of opportunity to explore a darker side of design. In the end a great challenge and a lot of fun, especially with the great team we had.

In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons.

This Cold War spy movie, set in Italy and Berlin but produced at Leavesden Studios outside London, was great fun to dive into with Guy Ritchie's take on action and great editing. It's all about period glory and genre tropes.

A soldier fighting aliens gets to relive the same day over and over again, the day restarting every time he dies.

My first time working in London was amazing. When Tom Cruise and Doug Liman decided to collaborate on this SciFi, we were all in for a exhilarating and challenging movie making deep-dive. It's a project that I still get frequently asked about, and I'm very proud of it.

A teenager with teleportation abilities suddenly finds himself in the middle of an ancient war between those like him and their sworn annihilators.

My first collaboration with Doug Liman. Teleporting all over the world is fun, especially as the settings - New York, Michigan, Rome, Tokyo, Egypt - lend credibility to the fantastic abilities of the character. And are fun to design and realize for a movie, made in Toronto.

Hoping to alter the events of the past, a 19th century inventor instead travels 80,000 years into the future, where he finds humankind divided into two warring races.

Our Time Machine, which I fondly regard as a Fresnel-lens studded crown jewel of period design and imaginative technology, came to life through the dedication and creativity of a collaborative team. I'm particularly grateful to Simon Wells, the great-grandson of H.G. Wells, who set the bar high from the outset with his challenge: it had to be nothing short of amazing. A special acknowledgment is also due to Matt Sweeney FX, who was actually able to build this gem out of aluminum, acrylic glass… and lots of ingenuity.

French nuclear tests irradiate an iguana into a giant monster that heads off to New York City. The American military must chase the monster across the city to stop it before it reproduces.

mY favorite part of Godzilla, besides of working in NY, Hawaii and Los angeles at the same time, was the big sets we were able to build: a destroyed Madison Square Garden, a little village in Hawaii, and all the fx/vfx model work. Then I also really enjoyed collaborating with, in this case creature designer, Patrick Tatopoulos.

The aliens are coming and their goal is to invade and destroy Earth. Fighting superior technology, mankind's best weapon is the will to survive.

My First time production design in the USA, teaming up with my friend Patrick Tatopoulos. With Roland putting the two of us together, he was getting a wide mixture of ideas.