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DUPLICITY

Shooting On Location
Burkett & Randle and Omnikrom are both headquartered in Gilroy's hometown of New York City, while the film's flashbacks take us into Claire and Ray's secret rendezvous cities—from, chronologically, Dubai, Rome and London to Miami, Cleveland and Zurich. Principal photography for Duplicity began in Manhattan, then the company moved to the Atlantis Resort in the Bahamas for one week of shooting. It spent the final week of production in Rome, where Claire and Ray first fell in love and began, as Gilroy puts it, "stealing little moments.” Thompson had the enviable job of creating sets in some of the most famous buildings and locations in the world.

About the decision to shoot in Manhattan, Thompson offers, "It was always important to have real New York streets and classic New York locations, but not shoot them in a traditional Hollywood way.” One of the earliest scenes in the film shot in Grand Central Station, which was filmed at the pedestrian level for a greater sense of urgency. Several iconic New York buildings were used for interior and exterior shots of the rival company's offices. For example, the roofs of the MetLife Building and Rockefeller Center were used to capture establishing shots of the Big Apple.

DP Elswit and his team were especially pleased to be among the first filmmakers to lens the city with the new Panavision G-Series lenses.

"Grand Central was important, as was the big shopping scene in Lord & Taylor where Clive finally catches up with Julia,” Thompson says. "Being on Fifth Avenue in midtown, Central Park, the Chase Manhattan Bank Building, the top floor of the Citicorp Building, Lever House, the Seagram Building… these are the most beautiful, classic pieces of architecture we have in the city, and we shot in them.”

One of the more challenging locations to secure was space in the Seagram Building. The production intended it to serve as the power center for the head of Burkett & Randle. Producer Kerry Orent explains: "The Seagram's location allowed Tony to position Howard Tully's office at the center of the Midtown Manhattan canyon of corporate and financial power. The location gave Tony the opportunity to present Tully's office within a certain distance to his archrival's Omnikrom building. At the time of filming, it was very difficult to find empty office space in midtown, especially in famous architectural icons like Seagram's. After months of searching, Kevin Thompson found a rare, empty space in that building. With Tony's support, Kevin transformed an unfinished space that had wires hanging down and Sheetrock falling over into a perfectly designed office for Tully.”

Filming Ray's pursuit of Claire through Grand Central Station made the Seagram Building prep look like a walk through Central Park. Shares Orent of the experience of coordinating with everyone from the Metro North Transit Authority to NYPD: "At Grand Central, we had less than five hours to shoot a complicated scene with hundreds of extras…before thousands of Grand Central commuters started arriving. We were required to start at 4 a.m. on a Sunday morning. It was the only window of time that Metro North could allow us to have some control of the vast space. By 9 a.m., we hurried to complete the sequence. We couldn't stop the trains from coming or tell travelers that they couldn't pass through the station.

"It was a lot of planning for weeks in advance,” Orent continues, "but with a lot of cooperation and Tony's willingness to work with our limitations, he designed an amazing shot that starts on the clock in Grand Central Station and comes down to reveal Clive discovering Julia.”

Additionally, New York served as a wealth of unexpected locations for our jet-setting spies. The inte

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