![]() “We had interesting garrets, and attics, but, as we were scouting, we found ideas from various places ,” added Stockhausen. ![]() The kidnapper’s lair, which also gets introduced in a single tracking shot in the interior stages, became a rogue’s gallery of villainy. Then, when they had the potent, that’s when we circled around them on a track, and we wanted that to be a little more magical, so we brought the lights up on the walls and we shot it in color to show this whole different world that they were entering.” “I put overhead light on them so you couldn’t see their eyes and we kept the light off the walls. “We wanted the dining room to be a little spooky in a way,” added Yeoman. “And we made interesting use of the tile floor, which was damaged but gave a nice sense of character to the dining room.” Stephen Park in “The French Dispatch” (“The Private Dining Room of the Police Commissioner”) Searchlight Pictures “Then we made a miniature of the courtyard to put right outside the window as a backing for it,” Stockhausen said. “We started in the corridor, went into the investigative maps survey room, then to a gym, through the disguise room, through the firing range, and landing in the chicken coop holding cell area.”įor the dining room/kitchen, the art department used an upstairs split level room of the felt factory, in which the upper level became the kitchen with a large window so the entire space could be viewed in the same shot. And Jeffrey made his way through the whole police station in one shot,” Stockhausen continued. At first, it was going to be individual sets for each of the rooms, but we built the whole thing from scratch on the biggest set that we had, wall to wall, in the old felt factory. “The anchor part of that story is the way Wes introduces the police station. ![]() “For me, ‘The Private Dining Room’ had more nuts and bolts research,” said Oscar winner Stockhausen (“The Grand Budapest Hotel”), who studied French police stations and commercial scale kitchens from the ’50s.
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