Editing 12 Monkeys (section)

=== Design ===
Gilliam used the same filmmaking style as he had in ''Brazil'' (1985), including the [[art direction]] and [[cinematography]] (specifically using [[Fresnel lens]]es).<ref name="second" /> The appearance of the interrogation room where Cole is being interviewed by the scientists was based on the work of [[Lebbeus Woods]]; these scenes were shot at three [[power station]]s (two in Philadelphia and one in Baltimore). Gilliam intended to show Cole being interviewed through a multi-screen interrogation TV set because he felt the machinery evoked a "nightmarish intervention of technology. You try to see the faces on the screens in front of you, but the real faces and voices are down there and you have these tiny voices in your ear. To me that's the world we live in, the way we communicate these days, through technical devices that pretend to be about communication but may not be".<ref>{{cite news |url=http://www.smart.co.uk/dreams/tgmonkex.htm |author=Nick James |title=Time and the Machine |work=[[Sight and Sound]] |date=April 1996 |access-date=2012-04-10 |archive-date=November 12, 2020 |archive-url=https://web.archive.org/web/20201112014332/http://www.smart.co.uk/dreams/tgmonkex.htm |url-status=live }}</ref>

The [[art department]] made sure that the 2035 underground world only used pre-1996 technology, to depict the bleakness of the future. Gilliam, Beecroft and set decorator [[Crispian Sallis]] went to several [[flea market]]s and salvage warehouses looking for materials to decorate the sets.<ref name="note" /> The majority of visual effects sequences were created by Peerless Camera Company, which Gilliam founded in the late 1970s with Kent Houston, the film's [[visual effects supervisor]].<ref name="theasc" /> Additional digital compositing was done by [[The Mill (company)|The Mill]], while [[Cinesite]] provided film scanning services.<ref name="note" />