November 13, 2010 by Post Team
Mermaids Movie, The world of Atlantic City, New Jersey, in 1920 is not far from ours in many respects – the houses have electricity, people talk on phones and drive cars, men wear suits and ties and women wear skirts shorter. However, for all the ways it is similar, is different in a thousand, big and small.
Airing on HBO on Sunday, the freshman drama “Boardwalk Empire” (already renewed for a second season) live in this bygone era, and is the work of men like Bob Shaw, production designer and costume designer John Dunn give it life.
On a cold April night, Shaw is in the making – a solid construction, the recreation of 300 feet along the waterfront in 1920 – and talks about where it all began. “People always ask, ‘Does this re-creates a certain section of the route?” He says. “And the answer is, not greatest hits of some buildings that we liked the building over there ..” – That the Canton Hall gestures towards the area with its large sign advertising “Chop Suey” – “Chop Suey building, which only saw him in a photograph, and we loved it.”
Steve Buscemi stars as Atlantic City Treasurer Nucky Thompson, who controls the purse strings, and therefore everything else (including the liquor trade, now illegal) in the seaside resort.
He lives on the eighth floor of the Ritz-Carlton Hotel, that the show is a mixture of a real door and in the lobby next to the upper floors Route CG (Nucky suite is based on a soundstage) .
The real Ritz-Carlton, now condominiums, is a brick structure looks solid, but the Ritz’s “Boardwalk Empire” is light, elegant and whimsically decorated with seashells and mermaids.
Shaw admits his design owes more to Traymore Atlantic City Hotel, and as the sirens, etc., says, “That’s a little restaurant in Coney Island Children.”
According to Shaw, the waterfront, built behind a protective wall of shipping containers in the Greenpoint section of Brooklyn (the sand is real, but the ocean is beyond computer-generated trickery), is perhaps the wider large outdoor area built in New York since before 1920.
Started in early 2009, he was ready to shoot in the summer.
But, says Shaw, “when it was covered with snow in the winter, we begin to remember why the film industry talking about moving to the orange groves in California.”
Although it is difficult to shoot the exteriors on the streets – “is hardly more than two buildings in a row that are historically accurate,” says Shaw – inside buildings in Brooklyn provide most of the period rooms.
How do I use can be a bit of irony. Babette loud The disco is located inside a meeting room at the John Wesley Methodist Church in the neighborhood of Stuyvesant Heights, a brothel and is in an old mansion later became a home for the elderly.
After places, perhaps the biggest challenge is the production of other main cast application and sometimes more than 150 extras in a historically accurate costume time.
According to Dunn client, clothes for the main cast are made from scratch, using the types of fabrics available at the moment (and that includes underwear.) With so many extras to dress, however, Dunn and his team must buy or rent vintage clothes – and not hold up well under the stress of filming.
“We have a store,” he says during a break from supervising men in linen suits and women in diaphanous dresses of the summer scene, “which spends only repairing time we have rented costumes. Let all time shows and buy stuff. Most of our material comes from rental properties in California.
“Many of our players have never worn clothes like this before. In fact, transformed.”
Dunn is also awaiting the second season, leading to the fair in 1921.
“The skirts will start to rise,” he says, “and men’s suits will change too.”
Even when trying to be accurate, Dunn could end up surprising people whose vision of the 1920 can only come from old photographs or films, or clothing that have vanished time and use.
“Much of what we see is black and white,” he says. “I do not always know what they were using ColorWise. Some people see the color and say,” Wow! “”
But on one thing, the show is intentionally misleading. The bank promenade facing the sea, not toward the crowd and showcases. Shaw explained that in order to take pictures of someone sitting on a bench, with the waterfront as a backdrop
“Whereas if we face in the pews and stare,” he says, “every time we want to film someone in a bank, would the computer-generated ocean.”
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