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THE BOUNTY HUNTER

About The Production
From New York City…

"New York City really is one of the stars of this movie,” says Moritz. "Whatever challenges there are to shooting in New York City, it's all worth it once you get it on film.”

"The whole movie started in New Jersey, and Atlantic City was always a character,” explains production designer Jane Musky of the original look of the film. "But I think in the early evolution, Andy and Oliver Bokelberg, the cinematographer, and I were talking, and we thought that we'd have more room to move if we got some of it into New York.”

Still, setting The Bounty Hunter in New York would require the filmmakers to feature locations far off the beaten path. "Our location scouts come back with pictures and places of things that we've never seen, even though we've spent a lot of time in New York City,” says Moritz. "We shot in Queens, in Brooklyn, the West Village, Yonkers, Rockaway, Long Island. I think these locations really lend an air of credibility to the movie.”

Musky utilized all the different locations within New York as part of the characters' style and development: "We knew that we wanted Nicole to be a little more Manhattan; she had come up a little more in her style. As a counterpoint, we put Milo in Brooklyn. So it was almost like just giving us more choices stylistically of where these people could go and then carrying through with the way that they are as acting the parts also.”

Because Nicole is not actually in any scenes that take place in her home, it was imperative for the production design crew that Nicole's brownstone truly represent her character. Musky chose to play into Nicole's pretense of a together, straight-laced life, and at the same time hint at the fragility just below the surface. "Nicole is the most conservative in a way, because her charade is that ‘I have this great place now, I don't need him anymore.' So she's the most straight laced in her environment.” Another reason to create a sterile look for Nicole's apartment is to make it all the more comedic when Milo takes it upon himself to destroy it. 

When she began her search for locations in Milo's world, she stumbled across the ultimate coincidental find for the run-down headquarters of Sid's bail bonds business. "Wink Mordaunt and I were out scouting, looking at one place, and then we turned around and – gasp! – we saw the sign. ‘Sid's Bail Bonds!' It was the funniest piece of architecture in Queens. This place is maybe 12 feet by 20 feet. It definitely wasn't the most shootable place – it was all caved in, the roof had broken.”

Finding a location already dilapidated and correctly named for a character's business in the script was too good to pass up. They immediately decided to use the space, despite the lack of practical shooting room. 

"Once we got into it and cleared it out, we just made it as wild as we could for the camera,” says Musky. 

Often, production design can provide visual clues for the audience: moviegoers get hints from where a character lives, if he's neat or messy, how he's dressed. It might seem that on The Bounty Hunter, a production designer would take the opportunity to show how far apart Milo and Nicole are. But, says Musky, though they live in opposite worlds, "I couldn't make them so opposite that you think, ‘Why would she ever fall in love with that guy?' It had to be right on the edge. For a designer, it's a pretty fun idea to have to go to the high-high end for her and the low-low end for him, and somewhere the movie has to meet in between to make it all make sense.”

…on the road to Atlantic City

"The Bounty Hunter really is a road movie,” says Neal Moritz. "We spend a lot of time in a beautiful, powder blue convertible that kind of becomes the home for the two characters for quite a bit of the movie.” 

"Every day,<

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