American Cinematographer - November 1998 - 54

ringing director Vincent
I Ward's inspired vision of the
I afterlife to the screen for What
I

Dreams

the
visual

May Come demanded

utmost

effects

Mass.Illusions

from

a

cadre of

houses, including
(subsequently rechris¬

tened Manex Visual Effects), Pacific
Ocean Post

(POP), Digital Domain,

Illusion

Arts, CIS and Cinema
Production Services, Inc. However,
in

attempting to portray metaphysi¬
broad and undefined

cal ideas

as

Heaven

and Hell, Ward and his

as

equally ambitious effects crew were
probably doomed to hit some bumps
on their path to nirvana. Ward had
52 November 1998

previously suffered while trying to
personally tackle too many tasks
during production of his last film,
the effects-heavy Map of the Human
Heart. This

time, however, he vowed

that

things would be different, and
brought in an expert to oversee the
complex creation of Dreams.
Visual effects producer/supervisor Ellen M. Somers served

Film's head of

as

Boss

production for eight
years (where she originally met Ward
during his brief tenure on Alien3),
and as Warner Digital's vice-presi¬
dent of production. Somers was
planning to take some time off after
the closure of Warner Digital when

A collection

of visual effects
houses converge
to render unique
realms of paradise
and purgatory for
What Dreams

May Come.
by Ron Magid



American Cinematographer - November 1998

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