Kevin Thompson is a former architect who has been building sets for New York movies for more than 25 years. “Most movies don’t want to be a postcard New York City,” he says. “You want to feel the milieu of the city or a specific neighborhood.” Here, Thompson’s five rules for building a non-cookie-cutter New York set.
Let the city happen to you.
Let the city happen to you. We filmed Little Odessa during a really harsh winter. We were always getting rid of snow, putting it back for continuity. One morning, it snowed so much, and we couldn’t shut down or change the schedule, so instead of having a snow day, everyone had to take the train to Brighton Beach. It was like, “Just get there as soon as you can.” We all showed up exactly four hours late, and everyone was trudging through the snow from the station, and everyone was in the best mood, and we had the greatest shooting day ever. I think now about how on bigger productions, something like that would never happen. It was the spirit of guerrilla filmmaking.
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