He added that the “candy kiss” of a chair in the heart of Desire’s home ended up being a wonderfully tactical tool the show could use for the confrontations between the siblings. “With, it could have easily all been green screen, but I wanted to build it because I wanted the actors and the director, when they walk in, to go, ‘Yeah, we can work off this,'” Steele said. “The Sandman” Courtesy of Netflixīut even with those adjustments, it was important for the show’s creative to have as much feel real as possible. “We tried to paint everything darker and also make it sexy in its own weird way, because Dream is sexy,” Steele said. Colors are deeper, darknesses are darker, wet streets are slicker, and goth siblings Dream and Death (Kirby Howell-Baptiste) are just slightly out of place when sitting on a park bench in the sun. If “The Sandman” strives to be a fuller, more realized version of the original story, it’s one that’s very conscious of the contrast between the Endless, embodiments of the forces that in large part govern human life, and the real world around them like fellow Gaiman adaptation “American Gods,” the mythic and the mundane don’t clash so much as co-exist in a world that’s real, but with notes of strangeness scattered here and there, and heightened at the edges.
0 Comments
Leave a Reply. |