Notting Hill (film): Difference between revisions

Revision as of 01:06, 25 May 2007

Revision as of 01:16, 25 May 2007

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Quinn and the rest of her ___location team had to send letters to thousands of people in the area, promising that they would donate to each person's favourite charity, resulting in over two hundred different charities receiving money from the film project.<ref name=___location/>

The film's production designer was [[Stuart Craig]] who was pleased for the chance to do a contempory film, stating on the film "we're dealing with streets with thousands of people, market traders, shop owners and residents which makes it really complex".<ref name=___location/> Filming began on [[April 17]] [[1998]], in both West London and at [[Shepperton Studios]].<ref name=production/> Will's bookshop was situated on [[Portobello Road]], which was one of the main areas in which filming took place. Other places within Notting Hill where filming took place included Westbourne Park Road, [[Golborne Road]], [[Landsdowne Road]] and the Coronet Cinema.<ref name=___location/> After filming for a period of six weeks in Notting Hill, filming moved to the [[Ritz Hotel]], where filming had to take place at night, the [[Savoy Hotel]], the Nobu Restaurant, the [[Zen Garden]] and [[Kenwood House]].<ref name=___location/> One the film's final scenes takes place at a film premiere, which presented difficulties for the production team. Michell wanted to film the scene in [[Leicester Square]], but theirthe request was declined due to huge problems that fans attending a [[Leonardo DiCaprio]] premiere had caused the police. Through a health and safety act, the production received permission to film and constructed the scene in just twenty-four hours.<ref name=___location/> Interior scenes were the last scenes to be filmed, with them taking place at Shepperton Studios.<ref name=___location/>

The film features the [[1950 in art|1950]] [[Marc Chagall]] painting ''[[La Mariée]]''. In the story, Anna sees a print of the painting in William's home, and later gives him what is presumably the original. According to director Michell in an article in ''[[Entertainment Weekly]]'', the painting was chosen because screenwriter Curtis was a fan of Chagall's work, and because ''La Mariée'' "depicts a yearning for something that's lost." Producers had a reproduction made for use in the film, but had to first get permission from the painting's owners as well as clearance from the British [[Design and Artists Copyright Society]]. Finally, according to producer Kenworthy, "we had to agree to destroy it. They were concerned that if our fake was too good, it might float around the market and create problems." The article also noted that "some experts say the real canvas could be worth between $500,000 and $1 million."<ref>{{cite web|url=http://www.ew.com/ew/article/0,,273720,00.html|title=Flashes|date=[[1999-06-11]]|accessdate=2007-05-20|author=Joe Dziemianowicz; Clarissa Cruz|publisher=[[Entertainment Weekly]]}}</ref>