Issue link: https://digital.copcomm.com/i/1438629
C A N D Y M A N | P E R S P E C T I V E 1 3 1 From the beginning, director Nia DaCosta and I were on the same page, we really wanted a visual air and color incorporated into the oerall look of the film. ery much wanted to create graphic images for the film in the ein of talian s horror films and filmmakers like ario rgento, who brought style and color to the horror film genre. sing a limited palette of colors that ran throughout the film hopefully helped us achiee that. Shades of blues, sage greens, black and white, with pops of bolder colors like red and yellow were used for all of the sets and locations to create a unified and, hopefully, distinctie look. Cabrini-Green The film takes its umpingoff point as a follow up to the events of the original Candyman, set in the infamous hicago abrinireen proects. rom the start, knew the film would tackle gentrification, as abrini has been completely transformed in the years since the original film was made. hen landed in hicago, only had si weeks of preproduction, so was really trying to spend those first weeks seeing as much as possible, familiariing myself with the different areas, etc. spent a lot of time in abrini, plotting exactly where the old towers were, learning the history, eploring what was left and what is new. It's a really unsettling area, as the development is fresh enough that you do still have remnants waiting to be demolished in utaposition with epensie loft conersions, coffee shops, and yoga studios. here the towers stood is now a giant plot of grass, used by new residents as a place to sunbathe or walk their dogs. hen started to familiarize myself with the area, I became more and more sure that we needed to look beyond what was in the original film, because so much of it wasnt there. Rowhouses Young Billy's original home was scripted as being in one of the towers, which would have been a stage build and a eterior. suggested to ia that we utilize the rowhouses, which were still standing. That way we could play them both as present day and period, and she wouldn't be so restricted with her shots during filming. t first she wasnt totally sure she wanted to use the rowhouses, but then one Friday night we went to a film at the new rcight in abrini and decided to drive through the one street left with residents. The street was blocked in with police cars stationed at both ends and it was blatantly unsettling. y onday, ia had written the rowhouses into the script. The line that urke says in the film about uestioning whether the police were keeping the residents safe or keeping them in came directly from that night. hae to gie thanks to location manager ick afferty in hicago and also the hicago ousing uthority, for actually being so accommodating with letting the production film in those abandoned rowhouses, especially with our script and subect matter being very critical of the Chicago's history of public housing. A. CABRINI-GREEN ROWHOUSES. PRODUCTION STILL. UNIVERSAL PICTURES.