Of course, Felix’s and Laura’s apartments were just as important as their haunts. For his place, a picture from an old magazine of a “’70s kind of modern interior in France that mixed old and new” provided inspiration, says set decorator Amy Beth Silver. She outfitted his office with a leopard print chair from Liz O’Brien, lamps from Foscarini and Jacques Adnet, Italian antique brass and glass nesting tables, and rosewood love seats by Milo Baughman.
Laura and Dean’s apartment was shot using multiple locations in Manhattan and Bushwick, Brooklyn, plus a stage build. Ross says she, Coppola, and Silver, decided that although it is never stated, part of Laura’s backstory is that her father probably helped her buy her apartment. “Laura is one of those few working artist in NYC who can live in such a comfortable fashion. We envisioned her as a person with a good eye for design, raised by people in the arts. The walls are covered with art we thought of as coming from Felix, which means he is, in a way, always present,” says Ross. Her art collection includes work by Ellen Gallagher, Carrie Mae Weems, Lorna Simpson, Jennie C. Jones, Leslie Hewitt, Julia Rommel, John Wigmore, and Irving Penn. Pieces from Kartell, USM, Prouvé, Bensen, Harvey Prober, Herman Miller, Umbo, and David Weeks; vintage Italian dining chairs from Arper; and Flos and Noguchi lighting fixtures round out the furnishings there.
Coppola says she finds setting to be “such an important part of all films.” But with this one, she has added something to her résumé that is near and dear to her. “You try to create a world for the audience to go to. I wanted to do a film in New York because I live here, and also for the glamour of this city and tradition of movies set in Manhattan.”