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Additional Sets And Locations
Some of the biggest comedy moments in I Now Pronounce You Chuck & Larry come from the extremely awkward move-in of Chuck, from his bachelor pad to the family home Larry shares with his young children. The exteriors of the Valentine home were shot in a small neighborhood in Brooklyn near the Arizona Bridge, a place full of simple brick homes built after World War II. With friendly neighbors and big sycamore trees in front yards, the different-colored awnings prove one of the few ways passersby can distinguish the homes. The area is every bit the blue-collar community in which a New York City firefighter would live.

When Dugan and company created Larry's house for interior shots, they wanted to give the Valentines a home with a backyard. Because it was a set and not an actual home, they didn't have to pull structural walls out to get impossible shots of the family. The interior in Larry's house would definitely have to have a woman's touch, reflective of his late wife's presence in the home. For comic relief, this was especially true in Larry's bedroom. When Chuck lies down in the bed with Larry for the first time, it was crucial for the comedy that he definitely feel as uncomfortable as possible.

In Chuck's apartment, the filmmakers wanted to create a "swinging pad,” according to production designer Blake. His team designed a basement-type space with high windows that would give the feel of a bachelor's joint that should have a revolving bedroom door. Though Chuck is every bit the ladies' man, he is quite out of date in his selection of colors and styles for his decor. The production used '80s- and '90s-style grays and blacks, and a black-and-white checkerboard counter to complete the cheesy look.

To lens the AIDS benefit/costume party to which attorney Alex invites Chuck and Larry, the filmmakers found an old church in downtown Los Angeles, St. Vibiana's. When the firefighters arrive at the benefit, they could not be bigger fish out of water. The interior of the former church was redecorated in a crazy rave fashion—with bright colors, loud music, and pulsing lights and sounds emitting from every window or speaker. The bombardment of people and projections created a set that constantly dazzled and disturbed the guys, new to the gay dance life.

In addition to creating the authentic style New York firefighter uniforms emblazoned with the FDNY crest, costumer Ellen Lutter sewed over-the-top costumes for Chuck and Larry's debut as new gays. For Kevin James, she designed a giant apple outfit in which he could jam, while Adam Sandler was a roving vampire trying to resist his urges to hit on a feline Jessica Biel.

Morris Takechi's Two Hearts Wedding Chapel was designed to feel like a quickie marriage joint one might find in Niagara Falls (to which the guys run for their ceremony)—small and rather tacky. The character of Chuck would assuredly want something in the middle of nowhere, so the story of his nuptials could never get back to anyone he knew. The filmmakers found that church in the Chapel of Roses in Pasadena—a getaway that had exactly the right layout to become Takechi's Two Hearts. When looking for the council chambers in which Chuck and Larry must fight for their rights, filmmakers discovered the Bank of America Building in downtown Los Angeles. The city landmark has huge columns and arches in its interior, and it provided great bones for the film's finale set.

Blake, Dugan and company retrofitted the space to make it look as if the firefighters were entering an older building in Brooklyn in which a new courtroom had been installed. They built a dais for the esteemed council (led by Richard Chamberlain) and added a number of new elements such as translucent panels backlit with blue, with light wood and translucent plastic. That served to give the area a modern look that wou


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