New York, as one of the largest cities in the world, changes every day. And today's New York, compared with 1937, is "unrecognizable". So, one of the biggest problems facing the cast and crew of the crew is how to reproduce New York in 1937. Producer Mark Samuels even regarded the search for location as the most difficult part of the film.
Director Richard Stuart Linklater said: "The location needed for the film is simply missing. On the original site of the theater, there is an office building. We wandered around the city, hoping to find some clues about New York in 1937, but we I couldn’t find any clues at all. In desperation, I asked my artist to go to the library to find old photos--since there is no real scene for us to take pictures of old New York, then we will recreate a new one. "In the days to come, The decorators and artists began to carefully study the architectural layout, decorative styles and interior furnishings of Old New York. After a period of meticulous construction, they came up with the final result: a New York street and a theater in the style of the 1930s and 1940s.
"I like this building very much", Richard Collinwright said: "However, the set they made was a bit too luxurious and magnificent. The dome was decorated with church-style oil paintings, and the pillars of the theater were too finely carved. Engraved. So I asked them to redo the ceiling, pillars, and interior decoration, and modified them to be much more low-key. This is in line with the social situation at the time. The interior of the theater is exactly the same as that of the year, the size of the stage and the backstage The layout, number and layout of seats are very accurate reproduction of the scene of the year. Shooting a film telling the story of Orson Wells in such a place is really appropriate."
After having a beautiful set, there is also a qualified photographer who uses an accurate color tone and a tricky angle to shoot a nostalgic style of "repair as old as the old". This time, director Colin Wright brought in Oscar-nominated Dick Pope. Colin Wright said: "Pu Bo and I have the same smell. We are the kind of people who strive for perfection. We often argue for a long time about the shooting of a scene. But the tacit understanding between us is still more than the difference. On the set, sometimes Before I spoke, I could see him walking towards the ideal camera position I imagined. What lens to use, how to move the lens, or what shooting technique, basically I don’t have to worry about it, Pu Po will take everything into consideration, and our ideas are surprisingly consistent. It seems that he seems to be as immersed in the theater world of New York and Wales in 1937 as I am unable to extricate himself. It’s no wonder that Wells’ Citizen " Kane " created countless firsts in film history, especially in the use of large depth of field photography, wide-angle lens and low-angle shooting. Wieser has left a lot of wealth for countless filmmakers. Bo was very excited to make such a movie."
