How the “studio” shot in authentic locations of Los Angeles like the Smokehouse

Hollywood DNA is so anchored in Seth Rogen’s “studio” that it was essential To turn on site in familiar monuments and, of course, in a real movie studio.

The Apple TV + series is an affectionate and frantic snapshot of what it is to work in industry-that is to say the old-fashioned version of Hollywood which revolves around studio lots, not Atlanta or London.

Walking on the Warner Bros. lot. In Burbank, one of the first things you see is a row of golf carts marked “Continental Studios”. Accessory carts are just a few of the many articles on the Lot while “The Studio” is about to shoot its second season in the fall.

Also at the ready device, the Continental Studios studios, now in storage, as well as dozens of lighting lights and other items from Studio HEAD Matt Remick, alias Rogen. All these accessories are carefully cataloged at Warner Bros. ‘Impressive warehouse of accessories on the lot, which contains four stages of furniture and pieces of each era and imaginable decoration style.

Some of the most notable places in the series were three historic houses of the famous architect John Lautner, including the episode “The ONER” shot in Silvertop at Silver Lake, which was largely covered.

Here, Variety Take the viewers behind the scenes of The Warner Bros. Lot and turn the other locations of the show in Hollywood of the show with production designer Julie Berghoff and the set of set Claire Kaufman, who was nominated for an Emmy for the design of production for the episode “The Note” with the artistic director Brian Grego.

The Warner Brothers Lot: Continental Studios

With a short window to build an entire studio concept, the inspired facade of Frank Lloyd Wright was erected in front of the modern Steinberg building in Warners, where only the steps remain the same once the flat forehead increases. The second story of the studio was created with visual effects.

The design of Mayan renewal has been chosen, known as Berghoff, because “a large part of the architecture has already been taken. You have art deco in Sony, Paramount is Spanish. So we wanted it to be an original concept, ”she says.

The interior of the studio, built on Warners’ Stage 23, was to incorporate many design which looks authentic to a studio that was built in the 1920s and has evolved to the present. But it is not so easy to find furniture from Frank Lloyd Wright, 100 years old, to be used on the screen.

“I knew early enough, with only six weeks of preparation, that we were going to have to make a lot of furniture, because I was just not going to find Frank Lloyd Wright style furniture in multiple,” explains Kaufman. “So I sat with a set of sets, Adam Mull, and revise the low tables in hand, the side tables, the conference table, the 10 -foot office in Matt, the chairs of his office and put this thing in production almost immediately. And then it was really textures and fabrics and drapery.

The character of Rogen, Matt Remick, is full of nervous energy – he is very in the coffee, so his office has a coffee bar instead of a wet bar. “He said to us:” I need to be busy and have things that can be busy. “If you look at him, he still drinks coffee or sink or puts his hands into his hair.

The jungle – The scene of the scene opening

It’s winter, and actor Paul Dano staggers in the snow after hitting himself in front of a wooded cabin in the forest. The first episode of “The Studio” opens in the middle of an action shoot where production director Rogen presents himself to mingle before he became chief of the continent. But it is not a mountain community – the jungle on the lot of Warner Brothers is a wooded area which has an indefinable wooden building which has been transformed into a cabin and a hole in the ground which can become a pond. “We have somewhat based it on Charles Bronson, from the 1970s,” said Berghoff, “it was a very excellent way for Seth to be introduced to Hollywood behind the scenes.”

The jungle bamboo foliage has been camouflaged to read more like a forest. “We actually removed a lot, then we put conifers in front of this, then removed the devil,” explains Berghoff. The pond water has been tinted and logs have been added. “I would make small videos, I sent them to Seth and Evan, and they would say to each other:” No more snow! ” More newspapers! “, Remember Berghoff. All these transformation works only led to two minutes on the screen.

Chinatown – Warner Bros. New York Street

In the episode of “The Missing Reel”, part of the film Olivia Wilde disappeared after the character of Rogen insists on the set on Celluloid. For the kinetic scene, in which the camera revolves around Warner Bros. ‘The Set of rue de New York, Berghoff and the company had to bring all the decorative elements of a typical Chinese district in the indescribable street.

“We have dressed almost everything in this street. There were a lot of moving parts, ”explains Kaufman. “We spent a lot of time talking about hanging lanterns and flags and how to shoot Eyline. I spent a lot of time looking for and I went to Chinatown and I pulled tons of images. ”

“After visiting Chinatown, I returned to Julie and said:” We have to build the arc “. Then, we worked with our gaffrus and he described it in all these lights and with a nighttime, it worked wonderfully, ”explains Kaufman.

There was just another problem: Abbot primary school was just on the other side of the street, and in “The Studio”, the camera is constantly detached in all directions. This dilemma was resolved by parking a large fish truck in front of the base of the familiar television series.

The Smokehouse restaurant

The popular restaurant, a favorite from Warner Bros. ‘The leaders for over 75 years have been used in three scenes, including a meeting between Barinholtz, Rogen and an agent.

“We are still looking for ways to move,” explains Berghoff. “So the car enters, he is traveling, he enters, he sits with the agent.”

Although the restaurant is already atmospheric, all the photos of the stars on the wall had to be exchanged for images that have been cleaned. The restaurant loved the small lamps that have been added to the tables, so they are still there.

The Hollywood Roosevelt hotel

The Hollywood Roosevelt hotel had the good vibrations and palettes of historic colors to complete the look of the continental studios, explains Berghoff. The scenes where Rogen meets Martin Scorsese to talk about his pet project based on the Jonestown massacre was shot there, both in the suite penthouse and in the bowling alley and the living room, where several types of lamps and lighting lights have been added.

The superposition in the right type of light has become a key element in the design of production, explains Berghoff. “We are really a large part of the sets lighting now, especially with the digital cameras that have come into play. And so we always have great conversations” with the gaffrus and the DP, “she says.

“When we arrive in the penthouse, I was a nervous wreck on the chair that I was going to put in Martin Scorsese,” recalls Berghoff.

It was also the first time that Rogen met the director noted during the shooting of the series. “Seth was so nervous, and I don’t think I saw him being nervous,” recalls Berghoff.

“You could see that he moves a lot on the stage, he also went to have a coffee, he seated on the bed. He was nervous in real life and nervous in the scene, ”she says.

Ebell Club

Hundreds of movies and television programs, from “Mad Men” to “The Social Network”, filmed at Club Ebell on Wilshire Boulevard, which presents the large vintage style ballroom and an outdoor courtyard which Rogen attends for a collection of funds for pediatric cancer with the doctor from which he comes out.

“Claire and I have filmed here several times. It’s historic, it is inviting. He has several uses with theater and the interior. But it is also difficult to make it different, ”explains Berghoff, who added a scene projected in the room.

In the episode of “The Pediatric Oncologist”, Rogen stops to admire the names of the films shot there on the fountain in the Ebell yard (“Gigli’s” on this fucked!, “Rogen exclaims), then makes a scene when he maintains that the cinema is just as important as to heal cancer. After the heated discussion, Rogen is crawling on a benchboard Need multiple cancer.

And if it seemed that Ted Sarandos’ scene had been shot to the Hilton during the Golden Globes, think again. It’s really the Ebell again.

“We had to deceive Ted Sarandos Camée for the Golden Globes,” explains Berghoff. “The bathroom, the bar. We made a small table installed. We brought the curtains here and the table canvas, then we just pulled it in a corner. ”

The Golden Globes of the Beverly Hilton hotel

The timing was not fair to film during the real ceremony of the Golden Globes in January, which would probably have been a logistics nightmare. The “The Studio” crew therefore recreated the spishy awards in the ball hall of Beverly Hilton, with a personalized scene. Although the room normally contains around 1,200 guests, around 500 background actors were sufficient to fill the scene. By working with the themes of nostalgia and elegance in tones of rose and gold, Kaufman added drapery to the walls, palm trees and additional lighting.

“We made real cameras that were for varieties. The DP would cut between live cameras and cinema cameras to tell the story. So it was really like studying, how does a variety work?” Said Berghoff.

Another important part of the Golden Globes episode? Reinforcing the table so that Sal Sperstein can stand, says Kaufman. “Of course, if we win, we have to thank him,” she laughs, referring to the episode racing joke.

While “The Studio” is preparing for his next season, he is probably sure that viewers will have a glimpse of a brand new set of Los Angeles benchmarks next time. Oscars, someone?