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7 8 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 1 9 and the two adventurous and endlessly upbeat, supportive producers Bill Migliore and Michael Bederman. Fortunately, I had spent nearly a year hunting for period locations on HBO's The Deuce, so I was familiar with the areas that could be most promising for the fi lm's needs. The fi rst day of scouting, which was originally scheduled to hit a dozen streets throughout Manhattan and Brooklyn, we barely made it past our fi rst exterior location of 148th Street between Broadway and Amsterdam Avenue in Harlem. Edward immediately shifted into directorial mode, envisioning each scene and stepping out the action, already determining camera angles and choreography. It was a joy and privilege to watch this wildly talented actor, whose performances I've enjoyed for so many years, step into the role of director so naturally. Much of the location scouting process followed in those early footsteps, with this small gang nailing down many of the hero locations from Bill's trusty Jeep, fueled by granola bars and the occasional coff ee shop pit stop. Eventually, offi cial preproduction began, along with it the enjoyable phase of gathering and sharing research imagery. Great inspiration was drawn from Saul Leiter's gorgeous photography, along with fi lms like Chinatown and Vera Drake (shot by veteran cinematographer Dick Pope, who would also be shooting this fi lm). The creative team agreed that we wanted to sidestep the C A A. L&L AGENCY FLOOR PLAN AND MODEL VIEWS DRAWN BY HINJU KIM. B. LIONEL USING HIS MENTOR FRANK MINNA'S PRIVATE OFFICE, IN THE BACK CORNER OF THE L&L AGENCY OFFICE, AS HE PIECES TOGETHER THE CLUES TO FRANK'S MURDER. C. (L-R) EDWARD NORTON, BOBBY CANNAVALE, ETHAN SUPLEE AND DALLAS ROBERTS IN THE BULLPEN OF THE L&L AGENCY OFFICES. PHOTOS BY GLEN WILSON B © WBEI © WBEI