How ‘Whalefall’ Production Designer Ramsey Avery Built the Creature’s Stomach Using Mattress Foam and Silicone Bits

How ‘Whalefall’ Production Designer Ramsey Avery Built the Creature’s Stomach Using Mattress Foam and Silicone Bits hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 17, 2026 11:22am PT How ‘Whalefall’ Production Designer Ramsey Avery Built the Creature’s Stomach Using Mattress Foam and Silicone Bits By Jazz Tangcay Plus Icon Jazz Tangcay Artisans Editor @jazzt Latest The Artisans Who Played Key Roles in Making Sure ‘The Odyssey’ Sailed Smoothly 2 days ago ‘La Bola Negra’ Soundtrack Features New Music From Composer Raül Refree 2 days ago ‘Wildwood’s’ Murder of the Crows Sequence Took Laika’s Artisans Over Five Years to Complete (EXCLUSIVE) 2 days ago See All Add us as a Google Preferred Source Comments SPOILER ALERT: This story contains minor spoilers for “ Whalefall ,” out now in theaters. In the new feature “Whalefall,” Jay ( Austin Abrams ) is a grieving son searching for his father’s (Josh Brolin) remains off the coast of California.

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As he dives deeper, Jay encounters a giant squid being chased by an 80-foot, 60-ton sperm whale. When the goliaths of the ocean battle it out, Jay finds himself sucked into the whale just as the squid’s tentacles wrap around him, proving to be a force he can’t contend with.

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Jay finds himself in the belly of the whale with only an hour’s worth of oxygen left as he fights to find his way out. Related Stories Timothy Busfield Indictment on Child Sex Abuse Charges Thrown Out by Judge What follows is an intense, anxiety-driven and claustrophobic adventure, with Brolin’s voice and flashbacks guiding Jay along the way.

Popular on Variety “It’s an intense experience, and that’s what we were going for,” says the film’s production designer Ramsey Avery. Avery achieved that because he created practical whale sets, including a 30-foot whale head with a functional tongue mounted on an animatronic arm, allowing it to open and close.

Filming in water and in camera using practical effects provided additional challenges, with the design of the set varying depending on where inside the whale Jay was located. The process began with extensive research.

Research Avery started by examining autopsy photos of sperm whales and working closely with Dr. Joy Reidenberg, a biomedical research scientist.

“She shared with me autopsies in the morning. I would get up at 6 a.m., look at autopsies with her as she was cutting open whales and explaining things to me.” But that still didn’t give him a sense of what the inside of a whale’s stomach looked like when it was alive and in water.

“We found out very quickly that we don’t know very much. But we do have cameras going into the bellies of orcas, dolphins and porpoises, so we were able to start with that and see what they look like when they’re filled with fluids and when they’re moving.” Building the Whale Avery began with the key stomach set, which he calls “stomach number one.” This is where Jay spends most of his time.

Director Brian Duffield wanted everything to be in water, so Avery built a 60-foot-wide tank that was 20 feet deep. “We ended up building about 30 feet of the whale’s head that we could put into the tank, and it had an articulating mouth and we could move it forward on a ram and back.” He collaborated with the stunts team and rigging team, as well as the film’s cinematographer Aaron Morton, to understand what he needed.

“We pushed as much of it being practically in-camera as we could,” says Avery. The tongue in the back of the whale’s throat was also a physical build, capable of moving up and down.

Finding the right material to construct the stomach was a challenge and required exploration. “It’s upholstery foam,” Avery reveal

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