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![]() The people who have that kind of home aren't going to be the people who are really doing it because they need the money. It's amazing that people allow filming in their houses at all. The furnishings were slightly overscale, sort of shabby chic.ĪD: Where were the houses used for filming located?īS: The beach house was in Sands Point, New York, and the mansion was in Old Brookville, New York. Their actual beach house was decorated in a much more traditional manner. It didn’t have a very good flow to the rooms in a way that you really want for the camera. It was traditional and had a Tudor influence, but it was much, much smaller. You need a bit of relief from the traditional.ĪD: Did you look at pictures of Jordan Belfort's actual homes?īS: Yes, we did, and we scouted his actual home. After a certain point, just so you don't get tired looking at the film, you have to do a bit of theme and variation of set. The house we ended up choosing looked sort of ’80s, with that planked siding. ![]() The last office attempted to look more dignified, even though obviously they were anything but dignified.īS: For practical reasons, we were not looking in the Hamptons. We embraced the teal that was already there and added some glass blocks to make it look more overtly of the period. I decided that it would be a good contrast to the eventual handsome color palette of the last office. We scouted a location that probably had been renovated in the ’80s, and some of the door frames were powder-coated anodized aluminum, and some of it was teal already. Again, they weren’t completely altering the space to suit their own purposes. Slowly that stuff moves out and we filled it up with desks.ĪD: How did things change when the firm moved to the city?īS: It was a little harder to say what the difference between the second-to-last Stratton Oakmont or Stratton Oakmont 2, as we called it, and Stratton Oakmont 3. There was even a car up on blocks without its wheels. If you look in the background in the first scene, there are racks that still have equipment, tires, fan belts, and those kinds of things on them. We had a location that we thought was pretty great. It's not something you’d pick up in the film, but the flooring was different on the opposite side of the room, because they used to be different stores.ĪD: What about the auto body shop turned brokerage?īS: The body shop takes care of itself as written in the script. We had two retail spaces that were combined. They make a few changes as they go along and leave certain things. BS: I had designed The Sopranos for many years, so I was familiar with what I refer to as the ”train wreck school of design.” When it's not a very upscale company, they don't go in and gut the space. Through some fancy financial wrangling and hard sells, Belfort and his buddies get filthy rich in a hurry, quickly becoming the sort of vulgar. Scorsese tells the same story, though this time it's set in the 1990s, when Belfort founded his brokerage (which he named Stratton Oakmont largely because it sounds posh) after getting hooked on the Wall Street high life. A heck of a hangover is in store for everyone. That all comes crashing down, because it simply can't last. Anderson's movie told the story of a working class boy named Eddie Adams who re-christens himself Dirk Diggler and rises to the top of an industry built on giving people what they want: the illusion of being wanted, the feeling of being in control, the fulfillment of a base desire. ![]() With Wolf, things come full circle-it's this film that's got everything in common with Boogie Nights. But now there's an actual Scorsese movie out, The Wolf of Wall Street, in which Leonardo DiCaprio plays Jordan Belfort, a real-life stockbroker who lives the very high life in the 1990s while committing securities fraud and the sorts of (mostly) white-collar crimes that land you in federal prison. ![]() Some also said American Hustle felt like it was directed by Martin Scorsese. You can see the point, but where Boogie Nights careens wildly and joyously off its rails, American Hustle plods here and there ( here's my review). They're alike mostly aesthetically-outlandish costumes, period music, that sort of thing. Anderson's 1997 movie about the pre-AIDS heyday and subsequent fall of the pornography industry in the 1970s. ![]() This month American Hustle, based on the Abscam scandal of the 1970s, garnered comparisons to Boogie Nights, P.T. ![]()
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