I did a golf movie in full sun -- on film luckily -- and mostly used "day blue" bounces (4x4 cards and larger frames). It was pretty subtle fill and kept the shadow side of the face cooler like it would be in real life.
The main thing is to just under do it if you don't want much anyway. If you are shooting digital, you can see the contrast problems on the monitor and decide then whether to get closer with the bounce fill or back off, or get rid of it.
The main reasons why faces get overlit is because the viewer tends to look at whatever has the most light on it in the frame, and directors want the viewers to look at the actors. So even if they don't insist on more light on the faces on the set, they end up insisting on brightening the faces in post because they start to panic that the audience isn't going to see every eye blink and fleeting expression unless there is a lot of light on the face. So often I hear in the color-correction session "I can't see his eyes, expression, face, etc." when you can see all of that clearly! I think it comes from a certain insecurity.
For better or worse, most narrative cinema is driven emotionally by performance, so notions of realism only go so far before the issue of whether the audience is really paying attention to the actor becomes the highest priority. And unfortunately, making the actor's face brighter tends to be the crutch that many directors lean on.