Q1. There is a definite art deco look to the film with the Pan Pacific Auditorium and notable pieces throughout the film. Was this something that the directors/producers were specifically trying to achieve?

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Joel Silver, Producer was a great fan of Art Deco design and so that is what directed us to the concept of the film.

 

Q2. Sonny Malone’s apartment contains art-deco inspired sketches and concept models that seemed to be the inspiration for some of the décor in the Xanadu nightclub. Fans assume the following:

 

Nightclub chairs were inspired by the art-deco “breakfaster” toaster.

I designed and had built the chairs exact as a visual of the toaster

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Metallic dance platform was inspired by the waffle iron.

I took the direction from the choreographer, Kenny Ortega, as he wanted smaller platforms for dancers in the sequence. The waffle iron was my inspiration with it’s streamlined deco lines.

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Art-deco figure on the podium/stage was inspired by the muse of music, dance and drama waterfall at the Hollywood Bowl.

The design for the dance platform was directly from the fabulous Hollywood bowl statue on the Fountain in front.

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Neon light columns….can you tell us more about these?

The neon columns were designed from the early shot of “Sonny” designing a lamp out of Lucite. (WE actually made the lamp which was in a latter scene on his drafting board). We designed a fountain top on a round aquarium that matched the Hollywood Bowl also. It was featured in Sonny’s apartment.

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Q3. Were you involved in the design of the illuminated stage in the Xanadu club? Any details about the design and construction would be appreciated.

The stage, designed by Johnny Corso, Production Designer, was powered by about 250 transformers to make the beautiful pattern of neon, under the sanded Lucite star. This had a beautiful pattern from overhead. There were 3 neon electricians under the stage for about 4 weeks just connecting the various colors and shapes to make the stage colors dance.

 

Q4. What was your inspiration for Danny McGuire’s home (set)?

The set design was supposed to be a Beverly Hills mansion. I found a silk moiré fabric I decided for the drapery in the Emerald green with the gold fringe trim. The furniture all French was from Universal stock, completely re-gilded and reupholstered in a green and gold striped fabric, to complement the green of the drapery.

 

Q5. Many fans wanted me to ask what happened to the set props after filming. Do you have any insight to what happened to them at all? There are reports that most props were destroyed.

The only things that I am sure got destroyed was the 1940’s La Salle automobile we made as a changing room and a dance prop for Fiorucci’s dance sequence. The 14 foot long palm fronds in Orange and turquoise glittered fabric, I had made as a background props. Also the large record covers we had painted for the outside of Tower Records, these were what “Sonny” painted as a regular job.

 

Q6. Do you have any other memories that stand out that you would not mind sharing with admirers of the film?

The entire job decorating with so many sets, and the variety of sets to work on, was an entire year of my life to complete. Working with Johnny Corso was a real pleasure as he always would take any idea or inspiration, and respect it. He was a great designer. He has since passed on.

 

David- Thanks for the opportunity to comment for your followers of the film. It was a fun run down memory lane.

Marc E. Meyer, Jr. S.D.S.A.