Approximately 75 ethnic, social, and religious Chicago organizations were asked to provide candidates whose faces would be photographed for integration into the fountain.mThe subjects were chosen from local schools, churches and community groups, and filming began in 2001 at the downtown campus of the School of the Art Institute of Chicago (SAIC). The SAIC students filmed their subjects with a $100,000 high-definition HDW-F900 video camera, the same model used in the production of the three Star Wars prequels. About 20 SAIC students took part in what became an informal master's course in public art for the project. Faculty from Columbia College Chicago was also involved in the production of the video. The high-definition equipment was used because of the scale of the project. Because the image proportions were like a movie screen with a width far exceeding its height, the camera was turned on its side during filming.

Each face appears on the sculpture for a total of 5 minutes using various parts of individual 80-second videos. A 40-second section is played at one-third speed forward and backward, running for a total of 4 minutes.mThen, there is a subsequent segment, where the mouth is puckering, that is stretched to 15 seconds. This is followed by a section, in which the water appears to spout from the open mouth, that is stretched to last for 30 seconds. Finally, there is a smile after the completion of the water spouting from the mouth, that is slowed to extend for 15 seconds. Of the original 1,051 subjects filmed, 960 videos were determined to be usable for the project. Originally, the set of images was presumed to be the beginning of a work in progress, but as of 2009 no additional videos are planned.

To achieve the effect in which water appears to be flowing from subjects' mouths, each video has a segment where the subject's lips are puckered, which is then timed to correspond to the spouting water, reminiscent of gargoyle fountains. Each face is cropped so that no hair and usually no ears are visible. Since there is no tripod designed for cameras turned on their sides, an adjustable barber/dentist's chair was used to minimize the need for the movement of the state-of-the-art camera during filming. Nonetheless, in some case, digital manipulation was necessary to properly simulate puckering in the exact proper location on the video. Many of the faces had to be stretched in order to get the mouths properly positioned. Additionally, each video was color-corrected for brightness, contrast and color saturation. Both the playback equipment and the final videos had to be further adjusted to account for sunlight during viewing.