Issue link: https://digital.copcomm.com/i/1433736
were lent to us to feature in the set, including a stolen Greenwich Street sign and a set of Prismacolor markers that incredibly still worked! Other artifacts such as the weathered director's chair Jonathan wrote in and his cassette rack of cherished tapes and personal recordings were kept in the Art Department as inspiration, but we crafted replicas of them to use on-camera. We also had the uniue opportunity of filling the walls of our facsimile apartment with the actual paintings that Jon lived with. Artist Ann Egan still had the three large canvases in storage and graciously lent them to the production. escribed in the song o More, as having a leaky ceiling and holes in the oor, the apartment was a far cry from the dreamily rustic SoHo artists' lofts one sometimes associates with the era. Charge scenic Elizabeth Linn and her incredible team of painters spent weeks finetuning all the wear and tear evidenced in the reference. We were particularly proud of the oorboards caked in chipping grey paint. When Jonathan's sister, Julie Larson, and others who knew and collaborated with him would come to tour the set, there was often a lot of emotion in the air as they were able to revisit details of this space they had not inhabited for a quarter of a century. I have to say it was an extremely gratifying feeling to have been able to provide this experience for them, as well as for Andrew Garfield, who would be playing Jon. He expressed an aura of somber reverence the first time he entered the set and got to see what Jon was surrounded by day in and day out as he toiled away on his great American musical. For exteriors and the stairwell, the production was able to use the actual 508 Greenwich, although we had to do some modification to the ground oor to revert the chic restaurant that is currently in residence back into the food distribution company that was there during Jonathan's tenure. For the building's roof, we ruled out using the real thing because it was logistically impractical and didn't buy us much anyway since its view of the Hudson River had long since been blocked by new construction. Instead, we built our own version on stage as drafted by Assistant Art Director Jonathan Mosca and relied on visual eects to provide the vistas in either direction. A. ANDREW GARFIELD AS JONATHAN LARSON IN THE 508 GREENWICH STAGE SET. PRODUCTION STILL. B. JONATHAN AT HIS DESK. PHOTO BY MACALL POLAY FOR NETFLIX. C. EXTERIOR 508 GREENWICH ST. THE ACTUAL EXTERIOR OF JONATHAN'S APARTMENT. SET PHOTO. D. 508 GREENWICH ROOFTOP. STAGE SET. PRODUCTION STILL. E. 508 GREENWICH ROOFTOP. STAGE SET. SET PHOTO. F. THE MOONDANCE DINER IN THE 1980S. RESEARCH PHOTO. G. DUARTE SQUARE SHOWING THE FORMER LOCATION OF THE MOONDANCE DINER. H. DUARTE SQUARE PLAN. DRAWN BY JONATHAN MOSCA. A B C D E