"We would sometimes do this coverage by keeping our framing
very loose or giving the camera an almost floating feeling," Sigel
adds. "We might be in an over-the-shoulder, but as the actors
began to move we'd respond to what they were doing. I use that technique
quite a bit. I like it when you can be responsive to what an actor
is doing - the camera can take the viewer deeper inside the internal
workings of the performance. It's as though you're talking to those
people in real life. The camera participates in a proactive way.
Bryan began to embrace that approach more and more as the shooting
went on."
Sigel sees the camera as being "like another actor in the film.
Consequently, you have to think about movement the way an actor would
about a performance. You have to find that place where you're participating
emotionally, but you're not drawing attention to yourself and pulling
the audience out of the film. If you cross a certain line, the camera's
performance becomes more prominent than the actor's performance,
and that's when you're hurting yourself. It's the same as when an
actor gets really 'big' and starts to chew the scenery."
X2 is production designer Guy Dyas'
maiden voyage on a feature film, and one of Singer's first instructions
to Dyas was to get in sync with Sigel and
gaffer Tony Nakonechnyj so that the lighting
and design work would complement each other. "I was actually
quite intimidated when I met Tom Sigel," Dyas recalls. "After
all, this was the guy who had shot Three Kings! I was nervous,
but he and Tony were very helpful and down-to-earth, and they were
glad to share their extensive knowledge. When you're working with
people who are laid-back, they put you in a good place in terms of
solving a film's problems. They don't put you on edge."
"The nice thing about being 'the new person' was that I'd watched
the first X-Men film in a completely unbiased way," Dyas continues. "I didn't know I'd be designing the
sequel two or three years later, so I had an [objective] opinion
about it. I saw the film without any knowledge of what the crew went through, and
I had no knowledge of the budget and time constraints. I had a -
I hate to use the word - 'consumer' perspective."
That said, Dyas knew
he would have to maintain some aspects of John Myhre's design
of the original film, but also strike out in new directions. "Those
blue sets of the X-Men world, which are so familiar to everyone,
were all designed by John Myhre, and we
had to recreate those," he says. "The challenge was trying
to find out what colors John had actually used, because all of the
samples had faded and the people involved couldn't remember. Others
sets had to be designed from scratch."
The largest of these new sets served as headquarters for the villainous
and decidedly anti-mutant Gen. William Stryker, who coordinates his
nefarious schemes from a very large base. Designing the base required
close collaboration among Dyas, Sigel and Nakonechnyj. "I made very clear how important a part
lighting plays in the sets for these films, and I told Guy I wanted
the sets to have their own kinds of light, their own sources that
would give off a particular mood," Singer recalls. "That
required very close cooperation at all stages with Tom and his crew.
"On X-Men, Tom did a great job with John Myhre in
terms of giving the underground X Mansion extended walls and ceilings
so we could install light fixtures that would run the entire length
of the underground space," Singer continues. "That was
very ambitious, and I felt we needed to be even more ambitious for
X2, particularly with Stryker's underground complex. I think we outfitted
probably the largest soundstage in North America for that."
Built inside a former Sears warehouse in
Vancouver, Stryker's base was an enormous undertaking. "We probably
had 60 miles of cable," Singer estimates. "Tom said, 'Let's
make the commitment to build a set structure that can be lit up in
any corner, in any space, at any time so that we can move quickly
when we're shooting.' His foresight was brilliant. It cost a bit
more up front, but we saved money on the back end because we could
shoot a scene, run down the hall and shoot another scene. We always
had access to any portion of the set without having to wait hours
to re-light."
"The base contained a number of different setpieces," Sigel says. "There was a maze of corridors
that connected a number of larger sets. One was called the loading
bay, and another was the augmentation room. A lot of these sets were
pre-lit from above. As much as possible, we designed lighting fixtures
into the walls and ceilings and had everything on a dimmer system."
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