Patrice Vermette, the artistic director who won an Oscar for his work on the first part of the science fiction epic “Dune,” is once again in the spotlight as the Oscars approach. For Vermette, the prospect of another nomination is “always impressive.”

Recently interviewed in Budapest, the Quebec artist outlined a series of events he planned to participate in upon arriving in Los Angeles on Friday. The lead-up to the Oscars, which will be broadcast on Sunday, includes a flurry of activities and meetings.

“We float on a cloud, basically,” says Patrice Vermette about the Banfare des Oscars, which started with a flood of calls, texts and wishes of success on the day of appointment.

On Sunday, Vermette and the set decorator of “Dune: Part Two,” Shane Vieau from Dartmouth, Nova Scotia, will compete for the best set design award against the teams of “Brutalist,” “Conclave,” “Nosfer,” and “Wicked.”

“Dune: Part Two,” directed by Quebecois Denis Villeneuve, is also nominated for best sound, best visual effects, best cinematography, and best picture, a prestigious prize that would be shared by producers Mary Parent, Cale Boyter, and Canadian filmmakers Tanya Lapointe and Denis Villeneuve.

Anchoring the Visuals

Vermette’s breathtaking visuals for “Dune” were inspired by Frank Herbert’s novel and the characters who inhabit its strange worlds, including the desert planet Arrakis and the black and white landscape of Giedi Prime. Vermette emphasizes the importance of grounding science fiction and fantasy sets in reality to make them credible.

Vermette explained, “I think architecture should be an answer or a conversation with the elements in which this decor exists. I try to put myself in the place of the architect.” He cited the city of Arrakis, Arokeen, where winds blow at 850 kilometers per hour, as an example of his approach.

Vermette’s design for Arrakis includes thick walls to retain humidity and freshness, avoiding direct sunlight with a system of light wells. He notes that everything is in the book, but Frank Herbert’s writings leave much to the reader’s imagination, providing just enough clues to guide the creative process.

For the imperial planet Kaitain, Vermette drew inspiration from the architecture of Italian architect Carlo Scarpa, even encouraging Denis Villeneuve to shoot at the Brion Cemetery, Scarpa’s masterpiece.

“No one had ever shot there before. They always refused filming. But when they learned that I was a part (team) of ‘Dune’ and that they loved the first part, they said: ‘Well, maybe we would be interested to meet you,'” he recalls about the architectural gem of San Vito d’Altivole, near Treviso.

Vermette describes his approach to design as similar to that of a DJ, creating a rhythm to make the journey interesting. He loves to play with space, ladders, and proportions, a nod to his initial ambitions to become a music producer.

“It is not necessarily a question of revealing everything suddenly. We discover something. Then you turn to a corner and ‘Oh, there is another rhythm.'”

From Sets to Music

Vermette studied sound design at school, imagining he could one day compose film music. He volunteered as a production assistant on advertisements and music clips, hoping to launch his musical career. It was only when he was enlisted to replace a lazy artistic director on a music clip that he found his real vocation. This free work led to another, then to another, where he had the freedom to learn and grow.

His meeting with the late Jean-Marc Vallée was a turning point in his career. With Vallée, he worked on “C.R.A.Z.Y.,” “Victoria: The Young Years of a Queen,” and “Flora Coffee.” He also established a close link with Villeneuve, for whom he worked on “Enemy,” “Prisoners,” and “Sicario.”

Now, Vermette has his eyes set on another area: architecture. He announced a collaboration with an international company to build luxury hotels in Saudi Arabia, “which was a challenge and a pleasure.”

Vermette does not reveal details about the work that brought him to Budapest but assures that Montreal remains his home. “It’s my oasis. I know I will never leave Montreal,” he said. “In fact, at the moment, the snow we have in Montreal is missing.”

Future Prospects and Challenges

Vermette’s journey from music producer to Oscar-winning art director and now to architectural visionary is a testament to his versatility and creativity. His work on “Dune” has set a new standard for visual storytelling in science fiction, inspiring a new generation of filmmakers and designers.

As Vermette continues to push the boundaries of his craft, he remains grounded in his roots, highlighting the importance of Montreal’s cultural and artistic heritage. His upcoming projects in Saudi Arabia and his continued collaboration with Denis Villeneuve promise to bring fresh perspectives and innovative designs to the world of architecture and film.

Vermette’s approach to design, which blends imagination with practicality, offers valuable insights for architects and designers alike. His emphasis on grounding fantastical elements in reality can be applied to various fields, from urban planning to interior design. By creating spaces that are both visually stunning and functionally sound, Vermette ensures that his work resonates with audiences and stands the test of time.

As the Oscars approach, the anticipation for “Dune: Part Two” and Vermette’s contributions is palpable. His work on the film has already garnered critical acclaim, and his potential win for best set design would further cement his status as a visionary in the industry. Whether he wins or not, Vermette’s impact on the world of film and design is undeniable, and his future projects promise to continue inspiring and captivating audiences worldwide.