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IMAGINE THAT

About The Design Team
"And Qwali. Thank you for, well, for letting me into your land. Because, honestly, it's very beautiful and fantastic.” – Evan

Seeking to set "Imagine That” somewhere other than the obvious and overused Los Angeles and New York, the production searched for a believable and appropriately sized city. It would need to be a place that was sophisticated enough to be the home base for a major financial management company and still lend the film a different look. "We wanted to get out of the L.A.-New York mind-set,” acknowledges di Bonaventura. "We all knew Denver. My sister lives there, as do some friends. We felt it was a big enough city to house a major money-management firm. Also, we liked having a touch of the West, since Thomas Haden Church's character, Johnny Whitefeather, claims some Native American blood. The main advantage of filming in Denver is that it's a city that hasn't been used a lot in films. So there were a lot of choices that looked fresh and inviting.”

Once the creative team began to scout the city for specific exteriors and interiors, the beauty of the city, its architecture and its spectacular vistas, quickly validated their choice to center the story there.

A variety of locations were chosen in and around the Mile-High City, including the historic Brown Palace Hotel in downtown. Built in 1892, the hotel with its unique carved sandstone façade has been host to diverse guests from U.S. presidents such as Teddy Roosevelt and Dwight Eisenhower to pop idols like the Beatles. Another of the production's locations, built in the late 1890s and also designed by architect Frank Edbrooke, was the George Schleier Mansion, which stood in as Trish's place of business.

Additionally, the Pepsi Center, home of the Denver Nuggets basketball team, was the site of a scene featuring Nuggets players Allen Iverson and Carmelo Anthony, who played themselves in the film.

Kirkpatrick was keen to surround himself with a group of top creative behind-the-scenes craftsmen. "The key to directing,” he says, "is to hire a lot of people who know a lot more than you, and let them do what they do.”

Assisting Kirkpatrick on every shot was director of photography John Lindley, whom Kirkpatrick referred to as his "right-hand man,” and who was crucial in helping the director bring his vision to the screen.

"John shot one of my top-ten favorite movies of all time, ‘Field of Dreams,'” Kirkpatrick says. "I could not have done this film without him. If you like the way this movie looks, you have to credit John. And even more than that, he has incredible story sense and a great feel for, not just pretty pictures, but the best way to use the camera to tell the story emotionally. He was an absolutely invaluable creative partner.”

In addition to Lindley, Kirkpatrick's creative team included Academy Award®- nominated (for "Malcolm X” and "Amistad”) costume designer Ruth E. Carter and noted production designer William Arnold.

"We started working about 12 weeks before shooting began,” recalls Arnold. "We scouted Denver and Los Angeles to decide what would be shot where.” Many of the film's interiors were shot on the soundstages at Paramount Studios in Hollywood. None of them was more important to the story than Evan's loft. A man of good taste and money, Evan's apartment, as well as the suits he wears, needed to reflect his elegant, yet understated, style.

"The design for Evan's loft was based on scouting some of Denver's new luxury loft properties,” explains Arnold. "We felt Evan would have selected a loft with the best view, one that was close to his workplace downtown. He would have had a decorator furnish it with very little personal involvement. He would not be very connected to this space. The emptiness and oversized elements<

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