ADAM RESURRECTED

elaborate model to reflect the Bauhaus-style architecture that was made popular in Israel in the
1960s, by designers that had fled Germany years before.
Schrader.
“This allowed us to create something original, to use architecture as character,” notes
Later, the model of the institute’s exterior would be merged with locations in the Israeli desert,
located which Bleiberg had intuited would be right for the movie more than a decade before. “I took
Paul to some of my favorite places in the desert, and he loved them too,” he recalls. “The desert is a
powerful symbol in this story of resurrection and redemption.”
Seeing the fictional institute come to life was a thrill for Noah Stollman. “In the novel, the
institute is a kind of bizarre microcosm of the world and Paul Schrader and his team managed to
bring that idea completely to life,” he says. “It’s not a conventional place, it’s a place where anything
can happen, where a man and a boy who have both lived as dogs can find a human connection.”
Schrader also focused on an architectural, Bauhaus-inspired aesthetic by bringing on
cinematographer Sebastian Edschmid, whose films include the award-winning Israeli drama SWEET
MUD and Michael Hoffman’s forthcoming THE LAST STATION. Edschmid and Schrader together
designed a look for the film that flows between grainy black-and-white memories and heated desert
imagery.
“Sebastian is smart and gung-ho and together we developed a very interesting palette for the
film of dark and earth tones, where the only red seen for much of the film is Ayelet’s red lips and nail
polish,” Schrader notes.
Further adding to the film’s design is the work of Israeli costume designer Inbal Shuki, a
seven-time nominee for the Award of the Israeli Film Academy, whose clothes for ADAM
RESURRECTED range from lavish showbiz togs to the striped pajamas of the camps to the stark
functional doctor and nurse outfits in the asylum.
To forge the film’s score, Schrader turned to Gabriel Yared, an Academy Award® winner for
his score for THE ENGLISH PATIENT.
“I knew I wanted a synth score for this film, and although Gabriel works in a lot of different
ways he has done some wonderful synth compositions,” Schrader says. “Synth doesn’t allow for a lot
of melodic themes but Gabriel was able to come up with something with a very emotional effect.”
ethic.
For Goldblum, all of these elements helped inspire his performance, as did Schrader’s work
“He’s someone who knows how to fight for a movie, who keeps things going, who’s very
direct and decisive, but at the same time he can be very creative, mysterious and instinctive,” he
says. “He was everything you want in a director for a film like this. I enjoyed working with him to no
end.”
Bleiberg’s commitment and close relationship to the story also served as inspiration
throughout. “I was there every single moment of the production, from its inception through post—
production,” he notes, “and I felt my purpose was not only to make sure everything was OK as a
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