棲居美學8 參觀喬·戈德堡和凱特位於紐約的億萬富翁公寓

Hello, I'm Penn Badgley. Welcome to the Set of You. Let's take a tour. Welcome to Mooney's Bookstore. And here we have... Oh, my goodness, we've discovered our first Easter egg. This is Madeline Brewer. Hello. She plays a character whose name I guess we can reveal. It's Bronte. What's your name? It's Bronte. No, it's not. I know. This cash register, this season doesn't work. The first season, it did, and I had to learn how to use it. This is a really lovely message. Hate has no business here. However, Joe Goldberg does. So, I don't know, take that for what you want. This is recreated from the first season. This is not a real bookstore. This is not even a real ladder. I don't think it can scarcely support my weight, but I will try it. It's so canned. That was just foolish of you. So you'll notice here that we have subjects, titles here. However, each and every single book is real. So every book in the shelf, every book in the environment is a real book. Most of them purchased from used book wholesalers. And we actually even sorted some of them into categories so that the right books were in the right section. You search the books, fiction, F through K. Where we had specific books that were going to be featured, it was required, actually, that we create our own book jackets and our own graphics and our own titles and our own authors. It feels very real upon first entrance. And then you realize after a bit that it is covered in fake dust, which is worse than real dust. And everything feels kind of flimsy. So there's something about being here that at once is very real and very fake. I disagree because I watched the first season of the show and was obsessed with movies because it's the most beautiful place I've ever seen. To walk in for the first time with, like, fog in the air, going through the lights, it's, like, gorgeous. It's something to be gorgeous and flimsy, I think. It's like, you know, that ladder. Right. It's like me. I'm gorgeous and flimsy. Exactly. Season 5 would be also in New York as Season 1 was, so it was important to really familiarize myself, assemble the information, the drawings, which were brilliant. If I were a patron, I think I'd want to hang out there. It seems like the kind of place that you could lose maybe a whole afternoon if you had it. That, to me, is a measure of success. This is where Joe and Beck would have met right here for the first time. This is the part of the bookstore. And so I was just getting to know Joe Goldberg right about here. In fact, this is that turn that where he's, like, ah. And you murmur your first word to me. Hello. Do you work here? Guilty. Another aspect of the bookstore set which is probably most exciting is the fact that we have an LED screen which represents York Avenue that is seen when you look out the front windows. And the LED screen has imagery on it that has been shot that looks exactly like our location. We're in our bookstore. We look east. We see that. Cars go by. It's fully animated. It's like you're on York Avenue. It's very effective. Well, Maddy. It's been nice knowing you, but we're gonna go somewhere no one else wants to go. OK. Have fun. Thanks. Bye. That's what you've all been waiting for. And here's a little secret. This is not where we're going. This is in a different building from the cage. This is meant to be the top of the stairs. This would be where Paco would have seen Beck and then turned away from her. Oh, Paco! No, he was mostly an angel, but he did let her die. This is where I get to do my theater stairs. So if you can't already tell, usually I'd flip this light on for dramatic effect, but it's already on. Here we are in La Cage. This is the cage. This has been reconstructed every season. But this is where it all happens. It doesn't have a handle on this side, obviously, because no one's supposed to get out. Don't leave! I'm good. We're gonna get through this. From the season one design, everything was completely replicated. The cage itself, we built from the exact same drawings that they built season one. I promised you the truth, and I'm gonna give you that. This is actually a really cool little detail. This does not open unless this is closed. I thought that was a really nice touch. That way, people can't get out, obviously. Doesn't work that way. There's only one way. I've probably done some of my best and worst work in here, I'd say. There's nothing like a cage scene as ready as I am to take off the Joe boots and untuck his shirt and high-waisted pants. I'll never get to do this stuff again. It's a really particular kind of thing, and it's very intense, and I've been really fortunate to have it. This thing is always really well made. The joke is that Joe builds this on his own every season. This one was supposed to be built by Mr. Mooney, but every other one was built by Joe. He's wiry, but very strong. This table is meant to look like I do a lot of work here. You've got to be precise and use exactly the force needed. Secret, I never do any work here. Joe is always supposed to be binding books, right? He's never binding books. He doesn't even sleep. If you track Joe's waking life and then killing life schedule, this man does not sleep. He rarely eats. I've got to be honest. There are interesting, strange tools. Look at this thing. This must be an old press, you know, like a binding mechanism. These arches, I think they're gorgeous. Oh, and this is an area that we've never utilized really at all, but it gives the whole place, you know, dimension. This, I have bound one book here, exactly one book here, and I think exactly one book on that table that I said I never used, so I've used it once, I lied. See this dust? You see how, like, just there's a thick coat of dust on everything. I believe it's chocolate powder, but I wouldn't eat it. We're getting a set to look this aged, requires many passes. So we told our painters, our scenic artists, it needs to look like this, and we gave them the reference, and they made a pass. Then the producers come down for a walkthrough because that's what happens every so often, and they ask the question, so you're going to age the basement, right? As though it's never been aged. It's like, yeah, of course, we're on it, right? So we redouble our efforts, and we had painters in here for a week. Every corner has dust or grime in it where the walls meet the floor look like they've never been mopped, but that doesn't happen in one pass. You have to stick with it. You can't actually make a set out of masonry because it weighs a tremendous amount, and we try to make things as light as possible. Concrete block is a thin layer of plaster with scored lines. The brick is a material where they mold recycled paper. Our carpenters and our art people, our set people, they put a lot of work into this. They do it so quickly. It's ridiculous. It's a gift to us as actors because you know that what you're in feels real, it looks real. You feel very supported. We border on the sort of absurdist and comedy and melodramatic. What were you trying to do to me? I was just making you cozy, look. And that's the whole point of the tone and the horror of it. But these sets are, to me, what help make the difference. A little bit of an interesting note. This is where we shot Gossip Girl. This is the same stage where the Waldorf Suites or whatever, where they live, was in this stage. The stage with the bookstore was where the Humphrey Loft was. So this place is extremely familiar to me. I was just standing outside looking at the trees and I thought, I've been looking at these trees for nearly 20 years now. And I thought to myself, have they grown? Do trees in the city over the course of 20 years, do they grow? They must. So that's just a little window into my brain. Back in the end, the cage was a good thing for me. I'm hoping it'll be the same for you. Look, look, hands, typewriter, paper. No distractions. It's the low-tech writer's retreat you always want. This is my front door. You can't tell? It doesn't look like a front door? No. Well, I don't know what kind of places you're living in. But this is an elevator shaft. Not in real life. It would be a working elevator. For a billionaire apartment, it's massive. I mean, it's meant to be two floors. So if you notice, there's stairs that lead to nowhere. All the light you see here is not daylight. Like all that, you know, that's supposed to look like sunlight. Right? That's not what that is. Joe's studio and Joe and Kate's apartment, those were being built from scratch. And so we had to sort of decide as a group what the language of that apartment was going to be. One of the specific references was from the Dakota. That's the direction that we went. So this is the Lockwood Goldberg living room. Non-working fireplace that when we needed to work, there's a whole gas apparatus. That's my real-life human boy who plays my child. His character name is Henry. Henry,I'm sorry that she said that to you. Is it true what Gretchen said? Here's the conversation you've been dreading for years. And over here, there's a nice Photoshopped image of Charlotte who plays Kate with her longtime family friend in the show. That's not real. They've never been together on a horse. And it has this terrace that looks out onto the city, which we can never shoot in, by the way, because it's gorgeous as it looks from far away. The closer you get, you start to see. This ain't real. This is not real at all. It's not called The Lockwood Goldberg that was a total ad lib. It's Lockwood. It's Charlotte's character. Charlotte Ritchie plays Kate Lockwood, who is the heiress to a billionaire magnate. My family are wealthier than any of them. You don't go by Lockwood? Yes. When I was designing it, I was trying to figure out how much of this apartment is Kate's apartment and how much of this apartment is Joe's apartment. It's mostly Kate. Her resources went to her. But there had to be a place where you saw Joe's character and Joe was into books, and so we found places. Joe's world is on the bottom because that's where all the bookcases are and Kate's world is on top because that's where all the art is. Oh,what kind of kitchen is this? Hello,New York City. We'll just, we'll find another way. Your sister. Stop it. That is not who we are. Not who we are. You want us to kill everyone who becomes suspicious of us for the rest of our lives. That oven,the stove, this thing is ridiculously beautiful. Yeah,it's just so nice. Look,look at that. We've never used any of that. I didn't even know that was in there. Really,really, really well-made cutting boards. Look at that. These rounded edges. The appliances are real. These fruits are very fake. That might be real salt. Real nice salt. Black truffle salt. That's real. It's expired. I feel like Joe would cook a steak well. Is that on the nose? I feel like he'd cook meat well. He is a working-class guy. He would have had to cook for himself. And I feel like he'd probably be pretty good with a few key things. He probably makes a good chicken,you know? Once you nail a chicken and you have that, it's an infinite resource. You can cook chicken anywhere. Well,having exited the kitchen on the first floor in the hallway, we're going to magically enter the second floor into Henry's bedroom through his closet. It's a little bit like Narnia, but different. So now, we're in Henry's bedroom, which is meant to be right up there. Reminder, there is no second floor. I really like this. Welcome, Henry. Henry's, I suppose, growing up a little bit like his father, hopefully only just a little bit. He might have violence in his blood. Whether that's a real thing or not, holding back the truth isn't the way to protect him. He likes to read. He's 6 years old, so he's reading all about giraffes. For Henry, one of the things we did in his room, the upper floors of the Dakota all have these giant angled ceilings, which correspond to angled roofs, which to me is a very playful kind of idea. Here we have a fake child's drawing. This one looks like it might be real. No,probably not. But they look pretty convincing, don't they? And we also have some actual art that is done by, theoretically,Henry. But I think it's actually the art director's son, who happens to be the same age as Henry. This looks to be, is it a real fire alarm smoke detector? Look,there's a canister there. I don't know what that's for. I don't know why that's there. Maybe an end-of-season gag? Maybe it involves fire? Maybe that's a spoiler? I don't know. So this is Joe and Kate's bedroom, where admittedly, very little of the magic happens. It is an absurdly huge New York City bedroom, and very well-appointed. It's very light. It's very not-Joe,I think,in a way. In fact,for me,as Joe, I just don't really feel like this is home at all. These are meant to be closets. There was nothing in them. But that is what they're meant to be, a his-and-hers closet. Ooh,you know what? A little detail I've never noticed. Look at those. Those corner moldings up there. It's very nice. It's very extraordinary,frankly, to have an apartment of that scale in New York, and I think that is probably its most awesome feature, because it is so much grander than anything that you would normally see. I'm very fortunate in my life to have actually walked through the Dakota, and the walls are actually taller than what we built. That's all the studio could fit. But the scale of it, from a design standpoint, one of the most interesting features of it, because of the sort of subconscious statement it makes about status and about wealth and about privilege. So,what's next for the power couple? We're largely focused on changing the world. So many ways. Now you're in the real world, which is like the bowels of the fake world, or maybe it's the other way around. It's the fake world, the bowels of the real world. We'll never know. This is the outside of the cage set,right? That's the first floor of the Lockwood suite. This is the reality of what we do. A television show or a movie is made by hundreds, if not sometimes, depending on the scale, thousands. Men and women put this thing up. This was built, and it was built very quickly. So I just think seeing this is a testament to the scope of the craft,you know? How many people are involved? How many people make it their life's work? That's why people get into this business, is to tell some stories, and this is how you do it. I've got to go shoot something else now, but I'll see you later. Toodles.