What the interactive production process of “The Fall” brought us

Tarsem x Eiko Ishioka: mutual influence

This film has a dual structure of "real scenes" and "story within a story," but the way Tarsem spun the latter visual epic is still talked about in the industry. He visited various places around the world to shoot commercials and music videos, and after finishing his work, he called the staff and cast back and shot "The Fall" there. He continued doing this for four and a half years, shooting the scenes little by little.

Also important here is the presence of costume designer Eiko Ishioka (1938-2012), who also lent her strengths to " The Cell " (2000). Tarsem was a big fan of Ishioka's since she worked on advertisements for Parco, and was said to be an avid reader of "EIKO BY EIKO," a book that included her work from that time.

“The Cell” preview

Her costumes are intense. If not done properly, the film could be torn apart from the inside. But Tarsem did not control her designs, but rather unleashed this "visual language" to create a unique world of images by influencing each other. It was because Ishioka felt a sense of accomplishment in this stimulating two-way collaboration that he continued to work with Tarsem on " Immortals " (2011) and " Mirror Mirror " (2012).

And to the end full of love