Issue link: https://digital.copcomm.com/i/1474575
nice pieces; that not too long ago, he allowed someone special in his life to help brighten and renovate his spaces. This, combined with Steve Martin's own decor suggestions, got us to a much stronger foundation for the characters' environment, and allowed us to latch onto some bolder choices as we fi gured out the details of the architecture and decor in the spaces. In addition, making him a wiser investor over time gave leeway to make his apartment more upmarket and classier. Eventually, set decorator Rich Murray and his team were sourcing more from 1stDibs and Chairish, seeking out heritage pieces and elements with a mid-century design pedigree. On the set are chairs by Milo Baughman, Michael Taylor for Baker Furniture and striking oneoff s from lesser known Scandinavian designers. Art selections feature pieces by Ed Ruscha, a playful set of 1960s Josef Albers-designed album covers, Saul Steinberg and a mysterious Alex Katz painting. Colors in Charles' apartment all came from one incredible swatch. After an exhaustive search, we found ourselves returning to designer Paul Smith's versions of playful sophistication. Rich presented a dark-blue swatch with his signature stripes that became the foundation for everything in the apartment and Charles' signature sofa. It gave us a lot of space to work colorwise, and the diff erent stripes found their way into the bright living room bookshelf, the kitchen fl oors and cabinetry, and the incredible wallpapers throughout the apartment. Wallpapers were sourced more from the design district than from traditional fi lm sources for the main characters' apartments, including special papers by Élitis and Graham & Brown. G A key piece of fabric gave the Art Department the palette for Oliver Putnam's apartment as well. But the key to decoration in his overly opulent and expansive pad was "drama." As a theatrical director, Oliver's apartment had to have drama throughout, but be grounded in a gentlemanly way. The fabric that got us there was a purple plaid by Ralph Lauren. Rather than feature this on the furniture, we designed paneled walls to fi t the width of the fabric to maximize the materials. From this dark base, we were able to pop a solid copper sofa as a nice counterpoint to Charles' stripes. The main feature of this space was a piano and a stage on one end of a large living room. Here, one can imagine cast parties that lasted well into the night. Inevitably someone would sit at the piano, and showtunes would be belted to a willing, eager and sauced gathering. The crew added theatrical lights to the ceiling and backlights on the stage and covered the walls in refl ective faux gold leaf wallpaper to give the space an overall glow. E. CHARLES' LIVING ROOM. PRODUCTION STILL. F. OLIVER'S RALPH LAUREN FABRIC USED FOR HIS WALL PANELS. G. VECTORWORKS DIRECTOR'S PLAN OF OLIVER'S APARTMENT BY PETER DORSEY. F E