Issue link: http://digital.copcomm.com/i/1184216
E D G Marty also really wanted to shoot the scene where Frank takes out Joey Gallo at the real Umberto's restaurant, which was a location he'd shot for Mean Streets. The old restaurant was long gone, and the area had changed so much in forty years, it wasn't going to work. By moving a few blocks east in the Lower East Side, the production found hanging signs and shop fronts that we were able to use to create the look of 1972 New York. These locations are such familiar territory for Marty; we wanted him to feel like he was in the old neighborhood. In keeping with the theme of "nothing," while the stage sets weren't especially complicated, there was a daunting number of them. The cavernous Marcy Armory in Brooklyn was filled three times over during the building of twenty-four sets. The assistant directing team had to take all possible E. UMBERTO'S CLAM HOUSE. STAGE SET. PRODUCTION STILL. F. UMBERTO'S CLAM HOUSE. INTERIOR. PRODUCTION STILL. G. RESTAURANT INTERIOR. PRODUCTION STILL. PRODUCTION STILLS BY NIKO TAVERNISE. F