Issue link: https://digital.copcomm.com/i/1521244
The screenplay was set in Brooklyn and we were fortunate enough to be able to shoot in New York, which is where I grew up, so I know it very well. Filming in New York is different from any other place that I've worked. It definitely comes with a degree of difficulty. It is expensive and hard to navigate, but the crews are quite amazing. Many of them come from theatrical backgrounds, which is also my upbringing, so I really identify with the process there. I was very fortunate to work on this project with Supervising Art Director Chris Morris. We collaborated previously on A Quiet Place Part II, where he put together a great Art Department. Chris is quite remarkable at his job, and I really enjoy working with him and his team. This was my first time working with our set decorator Kris Moran, and I really enjoyed what she brought to the project. The production was primarily confined to a single stage at Steiner Studios in the Brooklyn Navy Yard throughout the run of show. It was a limited space, to say the least. The stage needed to accommodate the two primary sets of the show; a third-floor apartment in a brownstone, serving as the grandmother's residence, and a similar apartment directly above it, existing in a little girl's imagination. The initial challenge was securing an exterior location that would serve as the foundation for the brownstone set, which would be built on stage. We needed a place that was spacious but felt quaint, with suitable entrances and exits given that we had numerous scenes transitioning into and out of the brownstone. After scouting many pre-war buildings in Harlem and several smaller ones in Brooklyn, John and I decided that the right way H A N D R A IL P L A N S c a l e : 1 / 2 " = 1'- 0 " 2 R 4'-0" +96 1 2 3 4 5 6 7 8 9 10 11 12 13 14 +89 +82 +75 +68 +61 +54 UP +47 +40 +33 +24 +17 +10 +3 +0 3'-6 1/2" 2B - 2C - 2A - 3'-4 1/8" 7 3/4" 7'-11 3/4" 7 3/4" 3'-11 5/8" 4 1/8" 3'-1" 7 3/4" 3'-5 1/8" 7 3/4" 5'-0 1/2" 7 3/4" 3'-7 1/2" D271 D271 D294 L232 D042 D042 L232 D042 D042 S T A I R W E L L P R O J E C T E D E L E V A TI O N S c a l e : 3 / 4 " = 1'- 0 " 2B 1'-1 1/4" 3'-2 1/4" 4'-3 1/2" 7 3/4" 7'-11 3/4" 7 3/4" 7'-9 1/2" 6" 2" 3 1/4" 2" 1'-3 3/4" 2" 2 1/4" 6 3/8" 1'-6 1/4" 4'-5" 3'-10 5/8" 3'-9 1/2" 3'-3 1/8" 3'-2" 2'-7 5/8" 2'-6 1/2" 2'-0 1/8" 1'-11" 1'-4 3/4" 1'-3 5/8" 9 1/4" 8 1/8" 1 3/4" 7" 10" 1 3/4" 10" 1 3/4" 10" 1 3/4" 1 3/4" 10" 10" 1 3/4" 10" 1 3/4" 1 3/4" 10" 10" 1 3/4" 1 3/4" 6'-9 1/2" 1'-2 1/2" 2" CUSTOM CAP MOULDING D294 D271 PANEL 1/2" HALF RND D271 PANEL CUSTOM CAP MOULDING D271 PANEL L237 CHAIR RAIL 3 5 TYP NEWEL POSTS 2F 4A 2F 4A 2G 4A 2G 4A D271 D271 D294 L232 D042 D042 L232 D042 D042 H A N D R A IL D E T A IL E L E V A TI O N S c a l e : 3 / 4 " = 1'- 0 " 2A 1'-1 1/4" 3'-2 1/4" 4'-3 1/2" 4 1/8" 3'-1" 7 3/4" 6" 6'-7" POST 2 1/4" 2 1/4" 1/2" 2" 8 1/2" 2" 3" 10" 1 3/4" 10" 1 3/4" 10" 1 3/4" 1 3/4" 1'-7 1/2" 10 1/2" 3'-0" CUSTOM CAP MOULDING D294 D271 PANEL 1/2" HALF RND 2 - TYP HANDRAIL DETAILS 2F 4A 2F 4A A R C H T Y P E A T E R M I N A T E S I N T O N E W E L A R C H T Y P E B T Y P I C A L A R C H P O S T T Y P E A T Y P I C A L P O S T M A K E ( 1 3 ) P O S T T Y P E A T R I M M E D T O T E R M I N A T E I N T O N E W E L P O S T M A K E ( 6 ) 1'-7 1/2" 1'-0 5/8" 11 3/4" 1'-6" 1 1/2" T Y P B A N N IS T E R A R C H E S A N D P O S T S S c a l e : 3 " = 1'- 0 " 2D 7" R 1" 4 3/4" 2 1/4" R 4 1/4" 8 1/2" NOTE! LINE SHOWN TO HELP DIMENSION AND SHOW CENTERS DO NOT SPLIT ARCHES DISCUSS CUTTING FACE FROM SINGLE PLANK F O R S E T O U T S I D E O F M A N U P S T A I R S A. HALLWAY OUTSIDE GRANDMOTHER'S APARTMENT. PHOTOSHOP ILLUSTRATION BY GREG HILL. B. GRANDMOTHER'S APARTMENT STAIRWELL. PHOTOSHOP ILLUSTRATION BY GREG HILL. C. BROWNSTONE STAIRWELL. WHITE MODEL BY ZACK GONCHOR. D. BROWNSTONE STAIRWELL. VECTORWORKS CONSTRUCTION DETAILS BY BENJAMIN COX. A B C D