Design aficionados will no doubt recognize the trademark Martinique Banana Leaf wallpaper in the Beverly Hills Hotel bungalow set, which was constructed on a soundstage. The paper was used by Hollywood architect Paul R. Williams and designers Paul Laszlo and John Luccareni for the hotel’s renovation in the ’40s, and has become iconic. The late architect, whose client list included Frank Sinatra and Lucille Ball, was also a point of reference for Ferguson when creating George Cukor’s estate. “For Cukor’s house, we found one designed by Paul Williams where we shot the dinner party scenes, and we did two builds for the guest house where Vivien Leigh stays,” says Ferguson. The designer also looked to the work of actor turned celebrity interior decorator William “Billy” Haines, who did Hollywood Regency interiors for Joan Crawford that placed him on the map. “Haines also designed interiors for Cukor, so we looked at reference pictures of the house and tried to emulate that world.” In a nod to Haines, Ferguson placed his tufted armless Boomerang Bench in the set’s study.
For the Ace Studio commissary, Licht discovered and renovated the actual chairs used at Warner Brothers in the ’40s.
Photo: SAEED ADYANI/NETFLIXFortunately for Ferguson and his set decorator, Melissa Licht, Los Angeles is a treasure trove of period antiques and relics from the Golden Age. The pair searched for items from prop houses and estate and garage sales all over the city (such as Omega Cinema Props and Castle Antiques) and neighboring Pasadena (Revival Antiques and Antique Mall). In a moment of synchronicity, Licht discovered the actual chairs from the Warner Brothers commissary in the ’40s and had them painted, restored, and placed in the Ace Studio commissary set. “I have research pictures from the ’40s of Bette Davis and Cary Grant sitting in the exact chairs having their lunch at the studio,” says Ferguson.
True to the period with its blinking lights, the Hollywood sign was recreated on a soundstage for one of the show’s pivotal plot points.
Courtesy of Netflix
Perhaps the most notable recreation was the landmark Hollywood sign—designed on the soundstage for the show’s subplot, the making of a movie about the life of British actress Peg Entwistle, who jumped off the sign in the ’30s. Ferguson provides another tidbit of Tinseltown lore: “Built in 1923, the Hollywood sign was originally intended to promote a housing development known as ‘Hollywoodland,’ and was lit by over four thousand blinking light bulbs. It fell into disrepair and was resurrected in the ’70s by Hugh Hefner.” Considered a metaphor for glamour and success, it’s a fitting symbol for both the show and the city.
"Hollywood" - Google News
May 05, 2020 at 03:12AM
https://ift.tt/3fjpQLh
In “Hollywood,” Ryan Murphy Reimagines the Golden Age of Film - Architectural Digest
"Hollywood" - Google News
https://ift.tt/38iWBEK
https://ift.tt/3fdiOHW
Bagikan Berita Ini
0 Response to "In “Hollywood,” Ryan Murphy Reimagines the Golden Age of Film - Architectural Digest"
Post a Comment