Issue link: https://digital.copcomm.com/i/1474575
T H E O F F E R | P E R S P E C T I V E 7 5 G The original Pereira Luckmandesigned buildings at L Center Studios were the headquarters of Union Oil, making them an ironic periodcorrect est Coast analog for the Gulf and Western headquarters at Columbus Circle in NY. A mild rework of part of a fl oor there, including the addition of some fl oating pierced screens, yielded luhdorn's executive o ces. Building The Godfather production o ces originally in the Filmways building in East Harlem as a stage set wasn't feasible, given cost and lack of stage space. oyd and I scouted a wide range of locations, but were frustrated, fi nding all to be nothing but a bunch of unconnected, unappealing rooms. Unshootable. Then he remembered the education wing at Hollywood Presbyterian Church, which I'd forgotten. uilt as a nursery/preschool, and currently unused, it comprises a row of classrooms windowed on all sides, laid end to end, paralleled by a hall. We saw the possibility of having views from one o ce to the next, out into the hallway, and so on. Given permission by the location to add doors between each of those rooms, we got the bonus of increased fl ow. Famed Lower East Side warehouse club Electric Circus off ered G. THE GODFATHER PRODUCTION OFFICES AT FILMWAYS STUDIOS. DIRECTOR'S PLAN BY PHIL TOOLIN. H. THE GODFATHER PRODUCTION OFFICES AT FILMWAYS STUDIOS. LOCATION BUILD AT HOLLYWOOD PRESBYTERIAN CHURCH. IMAGE COURTESY OF PARAMOUNT+. I. THE GODFATHER PRODUCTION OFFICES. SKETCHUP MODEL BY PHIL TOOLIN. J. ELECTRIC CIRCUS CONCEPT PAINTING BY RAJ RIHAL. SET DESIGNER JUDY COSGROVE MODELED OUR LAYOUT OF THE TENSILE 'SAIL' ELEMENTS FOR PROJECTIONS;I SELECTED A VIEW, AND WITH HISTORICAL RESEARCH RAJ AND I WERE ABLE TO QUICKLY DEVELOP THE LOOK. K. ELECTRIC CIRCUS. IMAGE COURTESY OF PARAMOUNT+. H I J K