Issue link: http://digital.copcomm.com/i/1177962
9 0 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 1 9 Once the dry dock work was completed, the gigantic tank was filled. The crew figured it would take several weeks. It did. It did not rain for extended periods in the UK that year, and it was a really hot summer. There was a maximum quantity of water we could pour in during a 24- hour period, stated by the municipality, given the heatwave. Nights were the best time to raise the level because of the water lost to evaporation in the daytime. During those summer days, the level of water was noticeably affected by evaporation. Once the water level was finally reached, the colorization of the water to match the color in Venice was started. It took a few days to get it right. Not wanting to go too far, it was done B A. CANAL SECTION SHOWING THE PIPE FRAMEWORK USED TO SECURE THE UPRIGHT POSTS IN THE WATER. B. VENICE BUILDING EXTERIOR UNDER CONSTRUCTION. C. VENICE CANAL SET DETAIL SHOWING THE SHELL TEXTURE AND ALGAE TREATMENT AT THE WATER LINE. D. VENICE CANAL IN PROGRESS WITH SPECIAL EFFECTS PIPES PLACED UNDER THE WATER LINE BELOW BRIDGE. SET PHOTO. very slowly until it reached the right hue and opacity. An Italian crew made a short trip to London to plan their portion of the shoot, and they were very impressed by the authenticity of the set, which was a real testimony to the hundreds of crewmembers who worked on it. When I describe the process of creating the sets for the film, I voluntarily use the word WE, because I was extremely lucky to be surrounded by the best artists and dedicated people during the whole Spidey adventure. They say: "You are only as good as your crew." I believe it has helped me maintain the quality I look for on every movie I design. ADG A C D