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THE SISTERHOOD OF THE TRAVELING PANTS

The Traveling Pants Makes Their Circuit
Sprung from its thrift store rack, first stop for the traveling pants is the Greek island of Santorini, via Lena's suitcase, and ultimately up a narrow and bumpy burro trail to the cliffside home of her grandparents. 

"Santorini is a marvelous, enchanting place,” Kosove warmly recalls. "From a production standpoint it's not easily accessible, perched on a steep mountainside,” which may be why The Sisterhood of the Traveling Pants is one of very few American productions to film on the spectacularly beautiful volcanic island in the past 25 years. "Everything about it is vertically oriented,” adds Kwapis. "Homes are built into the sides of cliffs. It's exotic in a way unlike any other place in Greece or in the world.” 

Early on, the filmmakers unanimously dismissed the idea of using a more popular filming locale, such as Malta, to double for the Greek island. Chase, who had been to Santorini, attests to "how distinctive it was, physically. When Andrew and I looked at the scouting photography we agreed it was the only way to go. It's such a significant part of the movie, we felt compelled to deliver the real thing.”

To emphasize Santorini's legendary visual splendor and enhance Lena's experience of romance and cultural immersion, the production took care to present the well-known locale in a slightly more traditional way, as artists have captured it in years past. Still primarily a fishing village, the modern harbor now hosts large boats that can block the background vistas. Working during the locals' off-season, the Sisterhood production brought in smaller boats, dressed picturesquely with nets and traps, and created a fictitious fleet for Kostas' family complete with hand-painted mermaid and starfish logos and flags marked with the family initial.

From Greece, production moved to an uncrowded beach near Cabo St. Lucas, Mexico, to feature the glorious Pacific ocean as backdrop for the soccer camp and in particular for a scene in which Bridget and Eric exuberantly race one another on the damp sand to catch a moment alone while the rest of the team falls behind. 

"There were a number of challenges,” Johnson acknowledges, "because the action is located in four different primary locations, each focusing on a different actress, so scheduling to accommodate the actors' schedules and move from place to place was a feat of timing and organization. We began in Santorini, to start out at the furthest and possibly the most difficult point and then move back toward home.” 

Ultimately, the film encompassed a total of 68 individual locations, with production designer Gae Buckley (Open Range) noting, "it seemed the company was almost always shooting two or three locations a day, while we were prepping another six or nine. It was like working a logistics puzzle just to get everything done.” 

"Gae did an amazing job with all our sets and designs,” says Chase. "She loved the story and really got the characters and their personalities.” 

"I know these girls,” Buckley responds fondly, meaning not only the Sisterhood actresses but her own three best friends, echoing the sentiments of many among the cast and crew. "These characters are familiar to me.” 

The designer and her team chose subtle color continuities for each of the four young women to inhabit. As Buckley outlines, "Lena was blue and white, colors associated with the brilliant Greek island scenery; Bridget was green, echoing the soccer field on which she excelled; Carmen was bright oranges, pinks and fuchsia, so she would really stand out against the paler color field represented by her father Al and his fiancée's family; and Tibby's world was that of mini-malls, store interiors, fluorescent lighting and colors unknown in nature, while her room colors were dark and smoldering.”

"Our task was to give each of the four storylines a partic

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