The dining table, a beautiful sort of grayish color, faded and pickled, we bought on sale. Note the rough beams and exposed brick counter-balanced by the polished floor…all textures reflected in the furnishings. Thompson designed the kitchen unit, which was built in-house.
Kitchen elements limited to toaster, espresso maker and monitor wordlessly reveal character. She discovered the signature desk perchance when doing research, and was able to have six copies made. For the entire film, there were 85 locations during the day shoot. The way he approaches each character and the world they inhabit ends up on the screen!
Resources Find a Set Decorator. Elise wavers, but follows David. They go through the door to the Bureau headquarters. Eventually, they are trapped on a rooftop above New York, with Bureau members closing in. They declare their love for each other, embrace into a passionate kiss before David can be reset. When they let go of each other, the Bureau members have disappeared. Thompson appears, but is interrupted by Harry, who shows him a new, revised plan from the Chairman for David and Elise: a plan page; one half which shows where their paths were, heading side-by-side into a blank page starting just past their new current moment.
Harry, after commending both of them for showing such devotion to each other, takes his hat back and tells David and Elise they are free to "take the stairs". The film concludes with David and Elise walking through the streets, holding hands, accompanied a voice-over from Harry, speculating that the Chairman's plan may be simply to get humanity to a point where they can write their own plan for themselves.
George Nolfi was working on another script when his longtime friend and producing partner, Michael Hackett, brought up Philip K. They were certain that they wanted Damon as their lead, and Nolfi began to write the part of his protagonist with Damon in mind.
He told the filmmakers that if future drafts looked as good, he would be ready to join. I was a big believer in him and felt he could do it. Nolfi took the opportunity to polish the idea before revisiting the project with Damon during The Bourne Ultimatum, which Nolfi also co-wrote. He saw what he wanted to do with this piece.
Since Damon and Nolfi had both worked previously with producer Chris Moore, they agreed that he would be a great partner with whom they could navigate the development of this ambitious project. I also loved that the material crosses a number of genres. There are thriller elements, action and a great love story—as well as a personal crisis about what you believe in and who are you going to be. The producer, who first partnered with Nolfi on The Sentinel, worked with the director for more than a year and mapped out how to physically shoot the numerous set pieces and locations written into the script as the production navigated across Manhattan.
Carraro, with his extensive experience in visual effects, understood that Nolfi required the effects be seamless in order to work. For his main character, Nolfi imagined a charismatic and popular Democratic congressman from the rough-and-tumble streets of Brooklyn. If he chooses to stay on his career path, he can actually, under the right circumstances, do great things for millions of people. He is one of the few guys out there who literally becomes the character.
Not just for himself, but he feels like he brought all these people along for the ride and let them down. David finds her charming and irresistible, while she recognizes him as the popular politico who is about to lose the election. He is instantly, and fatefully, drawn to her and starts to fall head over heels in love…something The Adjustment Bureau never intended. For the next several years, David will chase the elusive Elise and try and outwit what the men controlled by Fate have planned for him.
And it could cost him, and her, everything. So who exactly is this group who manipulates us from a position of unseen, immutable power? Who are its agents that seem to be nowhere and everywhere all at once? They have powers that go way beyond what the earthly powers of an intelligence organization would be. They set us on the course that we are supposed to be set onto so we will follow the grand scheme, or the grand plan.
To them they just work at a bureau. Because Elise is a world-class contemporary ballerina, it was integral to her character, as well as the plot of the film, that she be an experienced professional. But as it turns out, finding the right actress with the appropriate training, as well as the right chemistry with Damon, was a trickier feat than originally considered. The production auditioned hundreds of dancers from around the world, with Nolfi being present for dozens of the auditions.
When acclaimed performer Emily Blunt read the script, she instinctively knew a professional actress was needed for the part. We filmed the whole thing, and you could just tell. She knew portraying Elise Sellas would be immensely tough. Nolfi has written a feisty, strong, layered, complicated girl who can hold her own.
David informs Elise that he has just lost the election, and she unexpectedly inspires him with genuine words of encouragement. She gives him the idea to be himself in this concession speech, which he does. And the speech is so popular that he immediately becomes the odds-on favorite to be the next senator from New York. Unbeknownst to Elise or David, it was not chance that caused their rendezvous that night.
It was a planned meeting, orchestrated by the agents of The Adjustment Bureau in a cunning, structured move. But they were only intended to meet once. The idea behind The Bureau is that humans need a little bit of guidance throughout life to not self-destruct or blow ourselves up.
For every human, there is an Adjustment Bureau case officer. After that, they were never meant to meet again. George went to the movies one day to see The Hurt Locker. Whatever I have to do, I have to play this role.
That gives you a great opportunity when it comes to a character. But then it starts going badly for Richardson. Nolfi, whom Slattery knew through a mutual friend, asked him to come in and read a few scenes on film as a favor. A few months later, Nolfi had edited them together and showed Slattery, who thought it looked fantastic.
That was one where, like most of the film, the majority of our effects came out of necessity by shooting in New York. How was that achieved? Russell : That was actually done in three different pieces. We shot Matt and Emily on a bluescreen set on a soundstage parking lot, then we shot a background plate at the Statute of Liberty, and another background plate on Sixth Avenue without people in it, and then additional one with people in it at a different frame rate.
Wildfire Post handled that work. How did you plan that shot? That gave us basically a 3D animation that showed more or less what the action should be. We took it a bit further and did a test where we built a completely exposed stairway. We brought in a 50 foot Technocrane and we had our actors run up and down the stairs to see how much of a logistical problem it was for our crane operators to follow them.
It had to be slow enough so that you could see what was happening but fast enough to keep the action of the scene. Russell : Yes, actually in doing that test, it was a funny experiment for me.
But here it was very much the other way around. The previs was a tool that got us to the discussion and the discussion led to a physical test.
John Toll is a very hands-on cinematographer and he really wanted to get the camera there and see what it did in reality.
Russell : So we followed the actors around on the stairs and then we could figure out what we needed to build and what we could get away with doing digitally. So we only built one side of the stairway up to the handrail. It was about two and a half to three feet high, and the rest was a CG extension, which was done by Phosphene.
Russell : As you can imagine, the tracking and the merging of the digital and the physical was quite a challenge. The whole goal of the scene was to be able to do it in one continuous piece.
How did we do that?
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