• always night. There are never any day scenes, so the look is all-important. In coming back a second time, I've been able to cut through things and get right to creating larger feels and more scope on the screen."
Dark Designs
The storyline of Batman & Robin, of course, had a major impact on Ling's approach to designing the film. "I knew going in that the major element through- out this movie was going to be ice.
Consequently, how interiors and architec- ture would look iced and de-iced would dictate much of how this movie would look. After all, the entire story leads up to the fact that Gotham City is going to be frozen. So, we started from the frozen ele- ment and then worked our way back- wards."
Ice turned out to be the logical begin- ning for Ling's efforts in making the movie designed to chill. "I didn't want a
'white' look. What I wanted was an ice look that was translucent and lit from the inside, We did massive research and found that it had never been tried before, the rea- son being that it was very hard to do,"
Ling explains, "We went through months of testing different materials before we
To keep his body temperature low, Victor Fries must rely on a suit made up of compfex mechanical devices-including a jet pack.
finally came up with the idea of using clear cast resins. The result was ice that was magical, surreal and kind of edgy."
The cold touch continued when it came to designing Mr. Freeze's lair. "The idea was to keep his world consistent with the fact that he must live in sub-zero
temperatures. So, we came up with the idea of an ice cream factory, a place that has this blinding kind of refraction. We used mylar materials so that anything a light touches would reflect back. We also added carbon dioxide smoke. Again, everything was on the edge."
In contrast, Poison Ivy's hot house hideaway, an abandoned bath house, contained a South American rain forest influence. "There are huge vine: Rawers and trees just about everywhere," offers
Ling, "and a fog system that lets fog roll down from above.
Ling has also revamped stately
Wayne Manor, offering up a warmer,
"more bombastic and larger house" made all the more hip in design by the fact that "Robin is now around." When it came to rebuilding the Batcave, the designer acknowledges that she was basically starting from ground zero.
"The Batcave was totally blown up at the end of the last movie so, out of neces- sity, it had to be totally new. We came up with a mixture of blue steel and girders that hold the Batcave's inner structure together. The roving rooms and the mon-
Nor rooms have essentially become steel vaults, and Robin's influence is enhanced by the fact that Batman and
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