American Cinematographer - November 1998 - 53

problem
image in

was

how to create that

a way that would allow an
actor to walk across the faces without

stepping on someone's head," Ward
says. "Eugenio was incredibly inge¬
nious. He designed an elevated set so
we could fit
people under the stage.
Three out of every four heads were to
be made of rubber. We

cut a

HEEE

hole

where the fourth head would be and

put an actual person's face in there.
Then, by using their hands, each
person

818.845.8470

*

FAX 818.845.8477

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;

would manipulate the two

malleable rubber masks

on

either

side of them, so three out of the four
faces would be moving. Robin

Williams, Cuba Gooding and Max

wmi
PRO 8/45

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Sydow could just walk over the
rubber faces [as if they were stepping
stones]. That allowed them to easily
cross the set, which I thought was
quite brilliant."

F.lm

von

The

tremendous

PROCESSING
INCLUDED!!'

economy

and

imagination of the Sea of Faces'
Gustave Dore-inspired production
design was well-matched by Serra's
stark, impressionistic lighting.
"However, it was quite difficult
because the
and I felt

set was a
we

little

needed it

too

small,

to go on

forever," Serra declares. "I used

a

giant drop silk - a reflective mater¬
ial
and I was bouncing [light] on
it so that I would have a very huge
gray sky above them - very soft and
slightly backlit, with no fill light."
Quite paradoxically, Serra's
exploitation of soft sources in
Dreams lent a very hard, shadowy
look. "I've been working on that for
20 years," he says. "I do want model¬
ing and contrast in the image, so my
main goal is always to reconcile these
two things that people might think
are
contradictory: softlight and
contrast. That's my obsession."
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American Cinematographer - November 1998

Table of Contents for the Digital Edition of American Cinematographer - November 1998
