joker' production designer

But it’s a tough story about a tough world, and by the way, open the window, look outside. We chose the Shakespeare Avenue stairs because it was right next to the place that we chose to be the exterior of his residence.The movie was shot all over the city.

In his dilapidated home, Arthur has few possessions and sleeps on the sofa. And boy was he right.” (However unintentionally, “We chose the apartment building because it was once a nice deco place that fell apart,” said Friedberg. Basically what scared us told us which way to go.”Friedberg’s Gotham City is so well-suited to Phoenix’s Joker that the location practically takes on the role of a chief supporting character, so it’s surprising to hear that Friedberg initially had no interest in doing another superhero movie.

He spends a lot of time out there, whether it’s working on the street, riding subways around, or buses. Ultimately, we picked our favorite area and started to map the city based on that. But Gotham Square, in the beginning, and the big riot at the end, that was all shot on Market Street in Newark.Todd is a very hands-on as a director, and was adamant that the process of prep started way early. “You know, the South Bronx used to be the butt of jokes. That time in the car is really when things congealed.That went through some fits and starts.

As he puts it, “This was a gritty, tough drama grounded in substance.

The production designer behind Joker, Mark Friedberg knows New York City like the back of his hand.. “New York is in my blood; I’m made of it, and I’ve spent an extraordinary amount of my life driving around it, knowing every corner,” the production designer says. I wanted it to be bold and brilliant at the same time, and Mark helped with colors there. There’s this charcoal grey sweater he wears for the second meeting with the social worker.

Suddenly, he’s in this deep scab color knit when he goes to Arkham. I feel like maybe whoever that was misunderstood our intentions, but it was like throwing a live grenade around the room. Is he really miserable or does he think that this is all funny?

New York is quite different today to what it was back then.When you look back on photos of New York in the ’70s, they don’t look real, they look stylized. “As I read on, I saw that there is an Arthur in all of us. It’s tough material; it’s not the world’s most uplifting story. It was interesting, and you’ve not seen it before.”Bridges: What we tried to do was have things go a little darker as his mind gets darker.

There’s always trains over his head, garbage he has to navigate, and the stairs added the obvious stage for Joker to become Joker. One creates the outfits and the look of the character, the other creates the world that the viewer disappears into. “The wallpaper scared us at first, which is how I knew that it was exactly correct,” said Friedberg.

“We even kinda sympathize with his plight,” he pointed out.

Clearly, Gotham’s always related to New York, but we were trying to make some version of a mythologized city.

Although, Arthur does go to the Murray Franklin show, which is in color.That was the place where we bonded over. The production designer behind Joker, Mark Friedberg knows New York City like the back of his hand. I kind of couldn’t figure out how that could happen.I think it took someone like Todd Phillips to make it, not just because of his talent, but because of his clout, at a place where he’s been one of the most successful directors, and it was clear in our meeting that he was going for it. “It was all about blowing things up and flying through the air. What even is that? He wasn’t hedging; he wasn’t trying to make a popular film.

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