Issue link: http://digital.copcomm.com/i/765720
In a conference call with the producers about locations, there was a suggestion we look at Atlanta, for the larger rebates of course. I put that to rest by strongly advising that Atlanta does not come close to being able to double for Boston in a movie specifically about Boston. So offices were set up in a large former frozen-food warehouse in Danvers, a city a half-hour north (on a good day) of downtown Boston. That facility was able to house all of production, construction, special effects, wardrobe, transportation and in the end it was used for the largest interior set in the movie, the Black Falcon warehouse. My first days in Boston were a bit strange for me, as I was last there in September of 2001, scouting on The Ring. I landed there on September 10 and walking to get my bags was told by the film's location manager that production ordered that I immediately return to Los Angeles, and that I was booked out first thing in the morning on American Airlines Flight 11...yeah, that Flight 11. The flight had a 7:30 AM departure and it was already 10 PM. I didn't want to get up at 4:30, so I called Gore Verbinski and convinced him—over the objections of a producer—that I stay for a few days and search for lighthouses. My desire to get a good night's sleep is what saved my life. I didn't cancel, I just went to bed and didn't show up for my flight. My first goals this time were to visit all of the actual sites involved in the bombings and the following investigation. The Boylston Street locations, the Watertown shoot- out street, the FBI offices and evidence warehouse, the younger bomber's dorm room, the older brother's house, the house and yard where the younger brother was captured in a backyard boat, the house and office Right: The fi nish line area of the Boylston Street set taken from the photo bridge. The actual fi nish line is a vinyl appliqué that faces the photographers on the bridge, not the fi nishing runners. Below, left to right: A high shot of the model of the second bombing area in front of the Forum Restaurant. In the distance at the top is the model of the fi rst bombing area by the fi nish line, with the two models set apart the exact scale distance as they are in reality on Boylston Street in downtown Boston. Mr. Duffi eld's preliminary Photoshop ® and Illustrator ® layout of the Boylston Street bombing set(s), showing the 956- foot length of the set laid out on the Weymouth Naval Air Station tarmac. Opposite page, top to bottom: An aerial photograph of the set; at the top is the fi nish line area, the fi rst bombing site, and the lower end of the street is the second bomb area. Charge Scenic Artist Ricky Riggs touching up the fi nish line graphic the day before shooting. The set for the second bombing, built about 600 feet east of the fi rst bombing site, dressed and ready on the day prior to fi lming. Another angle on the fi rst bomb site; both LensCrafters and Marathon Sports had full interiors and there was clear mylar on the back of the windows to match the broken glass halo left after the bomb went off.