As the highly anticipated 'Dune: Part Three,' based on Frank Herbert's 'Dune Messiah,' prepares for its December 18 release, Vermette offered a glimpse into the ambitious vision driving the film. The story picks up 17 years after the events of 'Dune: Part Two,' continuing Paul Atreides' journey as emperor and exploring the profound consequences of his reign.

Director Denis Villeneuve's core directive for Vermette was clear: "not to repeat sets." This challenge pushed the design team to innovate, a philosophy that Vermette embraces wholeheartedly. He described the film's opening sequence as a "crazy idea," envisioning an expansive black sand landscape under attack by spaceships. Central to this vision was a colossal 55-ton spaceship, meticulously crafted to be seen from every angle, both inside and out.

The practicalities of bringing such a massive prop to life on set were immense. Vermette detailed the intricate process, which involved burying the ship underground and contending with simulated rain for the entire scene. Special spider rigs and touch spinners were employed to manage the elaborate battle sequence. A crane was required every two days to lift the ship, and a sophisticated pump system kept the set clear of water. Despite the logistical hurdles, Vermette affirmed that the spectacular results were "worth it."

Vermette's long-standing collaboration with Villeneuve dates back to commercials in the early 2000s, finally leading to their first feature film together, 'Enemy,' in 2013. This partnership is built on a shared motto: 'Let’s challenge each other. Let’s make it different.' This ethos has been crucial in shaping the distinct visual identity of the 'Dune' saga, ensuring each installment feels fresh while remaining true to the established world.

Beyond the epic spaceships, Vermette's design philosophy emphasizes grounding fantasy in reality. As he puts it, for any object in this fictional world, "things need to have a reason to exist... it needs to be grounded in reality." This approach has guided his creation of iconic 'Dune' locales, from the dark, industrial aesthetic of Giedi Prime (inspired by septic tanks) to the grandeur of the Atreides Castle and the complex Imperial Nexus Laboratory on Arrakis. His collaborative spirit, working closely with cinematographers like Greig Fraser, even allowed them to achieve natural sunlight effects in the lab without visual trickery, proving that sometimes, "never give up on crazy ideas" pays off.