Locations & Clothing
BOUNCE was shot in almost 30 different locales throughout the Los Angeles area. The film presents a broad cross section of everyday L.A. life, from Buddy's quintessentially urban Venice bachelor pad to the funky, busting-at-the-seams energy of the Tang Weller offices to the Janello's traditional family home in suburban Woodland Hills.
One of the first locations used was the Los Angeles Convention Center, which stood in for some of the interiors at Chicago O'Hare airport. Next, an entire downtown city block was covered in 43,000 lbs. of snow and ice, courtesy of Ron Bolanowski's special effects department, for several scenes with Tony Goidwyn set in snowbound Chicago. Even local Angelenos accustomed to film and television productions filming in the area were curious about the snowy spectacle.
Completely shifting gears, the production company moved to Woodland Hills in the San Fernando Valley where the cast and crew found themselves
sweltering through some unseasonably hot weather reaching 1000 while filming exterior scenes in the Janello backyard. The weather was
more agreeable for locations at Los Angeles International Airport, Dodger Stadium, San Pedro and Eagle Rock.
Production designer David Wasco, who designed the visual landscape on such films as "Pulp Fiction," "She's So Lovely" and "Bottle Rocket," put together a very understated, almost undesigned, look for the film in keeping with the tone. Working closely with the filmmakers, Wasco kept the visual backdrop very unobtrusive so not to detract from the intimate interplay
between the characters. "Overall, we wanted to create a restrained, wonderful real world palette for the actors to work in," says Wasco.
However, Wasco and his art department were given an opportunity to create a cutting edge and visually eclectic space for the original offices of Tang Weller, the high-powered ad agency run by Buddy and Jim Weller. Wasco came across the location while brainstorming with Kevin Daly and Chris Genik, the dynamic young Los Angeles architectural team behind Daly, Genik. The award-winning architects offered Wasco the opportunity to utilize part of the 5,000 square foot structure they had designed to house their own offices. It took approximately ten weeks to develop, create, construct and dress the area into the ultramodern, creative work-space..
Surprisingly, the biggest challenge for Wasco was hunting down the suburban home of Abby Janello. Roos had constructed a very detailed layout of the Janello house in the script. Critical scenes and dialogue within the house were very specific and an integral part of the action. Recalls Wasco "We looked at house after house until we came upon the perfect one. We could have easily built the interiors, but instead of a cold, sound stage we wanted to give the actors a real home to settle into."
Costume designer Peter Mitchell who crafted the fashions for such films as "The Opposite of Sex" and "Love Field" also worked within the same parameters as Wasco, creating a simple, muted look for the actors. For Gwyneth Paltrow' s Abby, Mitchell created clothes that are very casual, lightly colored and unassuming, the antithesis of flashy or superficially hip. To complete her look as a suburban mom, Paltrow was even willing to dye her usual glamorous blond tresses to a more subdued chestnut brown.
Mitchell had more of a challenge creating the very different styles which underlie the evolution of Buddy Amaral from an impeccably dressed young ad man outfitted in urban black to his transformation into Abby's suburban world as the casually dressed family man. Mitchell worked closely with the fashion house of Giorgio Armani to assemble Affleck's wardrobe of sophisticated tailored suits mixed with elegant casual wear.
Says Mitchell, "Initially, Buddy's look is straightforward, simple and dark. He wears
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