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Design And Locations
Once it was decided to lens the film entirely on location, Spyglass approached Irish co-producer Morgan O'Sullivan, with whom the company had previously collaborated. Explains O'Sullivan: "We'd worked together on a couple of occasions, on The Count of Monte Cristo and Reign of Fire, so when Gary Barber came to us with this script, we immediately felt it was a project we would like to do.”

Anand Tucker explains why the production needed to find locations that weren't so easily accessible: "The film is predicated on our heroine arriving and being blown off her course in the middle of nowhere. And actually, being so far away from civilization, she has no choice other than to go on this crazy journey with Declan.”

Producer Jake Weiner elaborates: "Ireland was always a character in the movie. It is a place where it exists in modern times, but it's a place where you can get lost…where you can drive down a road and not see a restaurant or a gas station. As we created remote situations for two people to get to know each other, we had to make it believable that they weren't in an area they could just ask for a ride. Anna and Declan were really forced together.”

Although many films have been shot on location in Ireland in recent years, few have used as many sets and been shot in as many geographically diverse locations as Leap Year. For a love story, the logistics and scale of its production were unusually large for an Irish film. In bringing the challenges set forth in the script to the screen, the team engaged the skills of production designer Mark Geraghty. "One of the biggest challenges,” notes Geraghty, "was finding a place big enough for the 12 studio sets. When we found this enormous warehouse in the docklands of Dublin, we turned it into a very efficient studio.”

The filmmakers were quite pleased actually to shoot Ireland for Ireland. Though it's quite a modern country, all were impressed by just how much the Emerald Isle has a fairy-tale nature about it. While Anna doesn't believe in luck—in fact, she has no time for it at all— the production was moved by how magical it found the scenery and the people of the Gaelic land.

Declan and Anna pose as newlyweds at a B&B. Glickman describes a few of the sets that needed to be constructed to bring the world of Anna and Declan to life. "The first part of the journey is on the plane, so we built the inside of the fuselage—which is 50 feet long and goes into this gimbal that creates all the turbulence,” he explains. "It was a very big mechanical set. Then we were on a boat on a storm at sea, so we recreated that using gimbals, green screen and CGI.”

Though the exterior of Anna and Jeremy's apartment is set in Boston, the exteriors were shot by Tucker and DP Tom Sigel in Dublin. Says Geraghty: "We've built a lot of the set exteriors; we built part of them and extended them into the Boston landscape later on the computer. The film is set around four days at the end of February when Boston has snow, so we re-created that. We created the outside of the Davenport, the apartment building they aspire to live in, and we also re-created the interiors on a stage. And then there were all the interiors in Ireland—Declan's bar, a B&B and so on.”

Despite the range and detail of the sets used in Leap Year, Tucker and the producers wanted to take advantage of Ireland's fabled landscapes. This was evidenced by the setting for the road trip undertaken by Anna and Declan as they travel cross-country to Dublin. Early on, the team made the decision to go beyond the traditional areas around Dublin and Wicklow used by other film productions. The crew was in search of a more authentic and geographically diverse landscape than is usually seen in films set in this cou

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