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About The Location
Recalling the decision to use authentic New York locales for Analyze That, Paula Weinstein says, "There was a moment when the studio, as every studio does, thought about shooting the movie somewhere else for financial reasons. But we ruled that out. It was absolutely out of the question. We wanted to be here. It's a great city to shoot in. There's no place on earth like it."

"It would have been unpatriotic not to shoot the picture in New York," adds Jane Rosenthal. "As a New Yorker it was extremely important for me to get back to work and business as usual after 9/11."

De Niro echoes his partner's sentiments, agreeing that shooting even the interiors elsewhere would have felt "unpatriotic," and adding, "It's a New York story, a New York movie. We always intended to keep it there and I'm glad we were able to do it."

Filming on Analyze That began in April, 2002, at the Audi dealership on Park Avenue in Manhattan for a scene in which Vitti struggles to sell a couple a new car. Other scenes depicting Vitti's various attempts at legitimate employment were shot inside a jewelry story in the Diamond District on West 47th Street, and in Gallagher's Steak House on West 52nd Street.

Joe Torre, the legendary New York Yankees manager, and his son Michael, play themselves in the Gallagher's sequence.

A brief scene of Vitti being released from prison was shot outside the entrance of Sing Sing Prison in Ossining, New York, although all other scenes in which Vitti is incarcerated at Sing Sing were actually filmed at the Riker's Island prison complex in Queens, New York. Ben's father's funeral, another early scene, was filmed at Riverside Memorial Chapel on Manhattan's Upper West Side.

The production then moved to a verdant, leafy section of Montclair, New Jersey, to film a number of scenes inside the Sobel household, including one imaginative dream sequence set in Ben's study, in which the good doctor appears as cocaine-sniffing Sigmund Freud.

Following these sequences, the unit returned to Manhattan for a scene in which the Sobels accompany Vitti to a dinner at Nogo, a hip, downtown Japanese restaurant where he meets a potential employer, the director of the Little Caesar TV show. The dinner was filmed on the site of a West 13th Street restaurant that had gone out of business and was redressed into life by the art department.

Sequences featuring Patty LoPresti in her Staten Island home were shot in the suburban Jersey town of Ho Ho Kus, the sham Little Caesar set was filmed in Manhattan's Washington Square Park, and the scenes in which Patty LoPresti and Lou the Wrench converge on the Little Caesar base-camp were shot in Kearny, New Jersey, on an abandoned factory site. Car chase sequences around the location were shot along New Jersey Turnpike service roads in Kearney.

The heist sequence, in which Vitti masterminds the theft of $18 million worth of US Treasury gold bars (for secret reasons of his own), was shot in an empty West 57th street lot between 11th and 12th Avenues, as well as below a West Side Highway underpass, both locations redolent of gritty urban decay and a nighttime world of gangland activity.

Ellen Kuras, Emmy-nominated director of photography whose credits include Blow and Personal Velocity, describes the filmmakers' intention to contrast scenes of Vitti's environment to that of the conservative Ben Sobel. "Our movie exists in two different worlds. It's not only set in Vitti's favorite locales. Scenes also take place in suburbia and in middle class Manhattan. We wanted to evoke the contrast so we made Vitti's world cool, blue and blue-green, whereas Ben's world has a brighter, warmer palette, yellows and oranges that provide a neutral


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