studio signs of favoritism in casting Weisz. With Jackman's earnest recommendation, the actress was cast as Izzi/Isabel. For her role, Weisz read books and first-person accounts about people who had terminal illnesses. The actress also visited hospitals to see young people who were dying and under hospice care. "There were a few days where I was in the headspace where I could say: 'I could go now'," said Weisz. The Fountain also stars Ellen Burstyn as Dr. Lillian Guzetti, Tom's superior, and Mark Margolis as Father Avila, who accompanies Tomás the conquistador. Burstyn and Margolis appeared in Aronofsky's Requiem for a Dream, and the director wrote into the script roles for both of them. Sean Patrick Thomas, Donna Murphy, and Ethan Suplee were cast as assistants to Tom's lab work. Cliff Curtis was cast as Captain Ariel, a fellow conquistador, and Stephen McHattie was cast as Grand Inquisitor Silecio, a religious fanatic who threatens the Spanish queen. Seventy extras were cast as Maya warriors, including twenty who had actual Guatemala Mayan backgrounds. One of the twenty, a real-life spiritual leader, was cast as the Maya spiritual leader in the film. Design The film's locations, with the exception of scenes filmed at a museum and at a farmhouse, were built on the Montreal sound stage. Production designer James Chinlund and his crew built sets for The Fountain in a large warehouse in Montreal. The sets included the 16th century jungle settings and the bubble-shaped spacecraft containing the tree of life and its garden. The spacecraft set was placed against greenscreen, and the crew hung colored reflective material, which included green, black, gold, and silver, on three circular tracks around the set. One material would be moved into place instead of the heavy equipment, and with the other materials partitioned off, a light source was used with the preferred material. Silver was used for scenes in which the spacecraft moved through the stars, and gold was used for when it entered the nebula. In The Fountain, the Tree of Life was a central design and part of the film's three periods. The tree was based on Kabbalah's Sefirot, which depicts a "map" of creation to understand the nature of God and how he created the world ex nihilo (out of nothing). The Sefirot Tree, being two to three hundred feet tall in lore, had to be resized for The Fountain to fit