ENOUGH SAID was shot almost entirely on Los Angeles' eclectic and breezy Westside,
which is, appropriately enough, Nicole Holofcener's home turf. The film captures that unique
cultural microcosm with authentic locations and production design that draws on the area's
sophisticated and artistic character. From newly hip, bustling Culver City and family-oriented
Mar Vista to the seaside enclaves of Venice and Santa Monica, the Westside belies the city's
reputation as a city without neighborhoods.
"Nicole wanted the offices on the Westside," says executive producer Chrisann Verges.
"We got very lucky with our locations, because those parts of town tend to be more expensive,
but the people embraced us. We were able to shoot the film exactly where it is set. The fancy
dress store is in Brentwood. There's a walk-and-talk overlooking the Palisades, and we used a
number of residences that are typical of the area. It becomes a big character in the film and we
never would have gotten that kind of reality if we were doubling the East Side or the Valley."
Shooting in L.A. also meant the filmmakers had access to some of the best technical
talent in the industry. "One of the many benefits of shooting in Los Angeles is that we can
assemble first-rate crews on a budget, because people are eager to sleep in their own beds and see
their kids every day," says Verges.
Production designer Keith Cunningham, who worked with location manager Boyd
Wilson to find the perfect settings for the story, pulled out all the stops to deliver a look and feel
that is pure Los Angeles.
"I fell in love with the script the minute I read it," says Cunningham. "The nuanced
characters and situations made me feel like I knew exactly what it looked like before I even sat
down with Nicole. Her script provided so many jumping off points for us to build the settings she
Much of the action takes place at home with Eva, Albert, Marianne, and Sarah and Will.
Each residence was carefully chosen to reflect the essence of its owners. "We started with
Marianne's house, because we thought it would be the biggest challenge," says Cunningham.
"She's very together and sort of ethereal in the way she dresses and lives. We actually found the
house pretty quickly. It's very picturesque, on a corner lot with a beautifully landscaped and
manicured garden. It's a little Shangri La here in the heart of Los Angeles."
For Eva's house, on the other hand, the designer went looking for something that
emphasized function over form. "We kept using the word unremarkable," says the designer. "She
lives in a normal, everyday house. She's a working mother, so we thought it would have a lived-
in air, versus design or decor. It's not so much cluttered, as it is not pulled together. That's a huge
contrast to Marianne's house, which we wanted to look like it was ready for a photo shoot."
Albert's residence is even more "unremarkable," according to Cunningham. "He's
recently become a bachelor again. We were looking for a very simple house. It's deliberately
under-decorated, leaning towards a man-cave. The colors are darker because it was scripted that
he lives with his blinds closed."
Cunningham points to a small detail from the script that shaped his concept of the home.
Albert doesn't have nightstands in his bedroom. "That's the beauty of Nicole's writing," says
Cunningham. "I think we all know people who just never got around to things like that. He's fine
with a stack of books next to the bed. That small but poignant detail informs the rest of the
For Sarah and Will, who have two kids and a pair of busy careers, he found a mid-
century-style house and filled it with finds from Pottery Barn and West Elm. "That house is
sleeker and more modern," he says. "She's always overbooked, so we decided she shops through
Another important location is Albert's workplace. It was originally written as the
Museum of TV and Radio, but Holofcener decided that that the sleek, white showplace in
Beverly Hills felt a little too upscale for the character. "We wanted something a little humbler,"
says Cunningham. "I'm a graduate of the American Film Institute, so I approached them about
using the library. They opened their doors to us. It was the first time anyone has been allowed to
shoot in their library."
Cunningham also worked closely with costume designer Leah Katznelson to develop
individual styles of dress that coordinate with the characters' private spaces.
"I'm interested in telling my story honestly, so I try to keep the honesty in everything
from makeup and hair to wardrobe," the director says. "If I see a movie with some woman who's
wearing something I know that character can't afford, I'm completely taken out. I keep thinking,
'I know that jacket. I wanted that jacket. How can she afford that jacket?'"
With that idea in mind, Katznelson viewed her job as helping tell the story through the
clothes. "I had to think about what these people's closets would look like," she says. "I needed to
know where they would shop and stay true to that, whether it's Barney's or K-Mart. Nicole really
feels strongly that she doesn't want the clothes to speak before the characters do. She wants us
just to believe that that person exists."
Being in Southern California helped define the style for Katznelson. "Los Angeles is
much more colorful and casual than other places," she notes. "People wear flip flops and sandals
year round. Jeans and t-shirts are acceptable clothing at lunch. I tried to infuse that California
lifestyle into the clothes."
For Eva, a massage therapist who treats her clients in their homes, which meant
practicality and comfort had to come first. "She is often in yoga pants and sensible shoes, because she's carrying a heavy table," says the costume designer. "We personalized her look by layering
jewelry. She collects pieces from meditation retreats and her travels. She repeats those a lot and it
became a very important part of her character."
On the other hand, Marianne, who represents an elevated version of Eva, is draped in
diaphanous fabrics and dazzling colors. "She's looks like what you imagine a poet would," says
Katznelson. "Other women see her and think 'how come she looks so great in that,' it's just a
pajama top. But on her it looks amazing. We used lots of silks and chiffon for her."
Tavi Gevinson may be a fashion icon in her real life, but her film character is an average
teen and her wardrobe had to reflect that. "She is so well known in the fashion world as being
quirky and experimental with her clothing," says Katznelson. "But we wanted to make sure that
when people watch the film, they don't see Tavi. They need to see Chloe, who is an artsy,
intelligent kid with a creative side. We pulled back from some of the bolder fashion choices that
she makes to make it more accessible to real teenagers."
Determined to ensure the correct look for the characters' clothes and surroundings,
Holofcener went as far as to literally take the shirt off her back for Louis-Dreyfus to wear in one
scene. She also lent some of her personal paintings and accessories for use on set. "We used quite
a few of her items," says Cunningham. "In Eva's home, there are a couple of paintings that were
done by Nicole's father, as well as a bright beautiful landscape in Marianne's that we used along
with some throws and pillows that were very colorful."
With her fifth feature film under her belt, Holofcener says she still feels fortunate to be
on set, coaxing her characters to life. "I love directing my own material," she says. "If a scene is
no good, it's my fault. And if it's really good, it's mine, too. If something turns out to be weak, I
change it. We rewrite all the time in the middle of scene."
Overall, Holofcener says she just feels lucky she gets to make movies. "I feel like I'm
really utilizing all the good parts of me," she concludes. "It's all-encompassing, but I'm having
fun. I just hope other people are having as much fun as me -- although they're probably not,
because some of them are carrying heavy things."
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