Set building for the interior shots (the majority of the film) took place today. The set was created within my Father's flat. Our plan was to make a conventional 1930's New York detectives office; a location that is never not in Film Noir. Here is an example of the look we were going for:
We started with the door. In the script, the Fem Fatale's silhouette is seen through the frosted glass of the door to Marshal Mallow's (the film's protagonist) door. We bought a cheap door and painted it brown to give it that varnished wood look, which we fitted to the doorway leading into the room. Then we purchased a large sheet of tracing paper of which we got the words "Marshal Mallow Private Dick" printed onto it, with the word "Dick" crossed out and the word "Investigator" written underneath it":
The tracing paper looks like frosted glass, as well as allowing for a silhouette to be casted clearly on it without blurring or distorting the figure:
The text is purposely facing inside the room rather than outside the room, as it should be, as their is a later joke when the Fem Fatale calls Mallow "Wollam" as she reads his name in reverse. We also purchased Venetian blinds to a) Add more to the door, to make it more interesting, and b) to later double up as a Window when we took the tracing paper off for a later shot:
After this, I began to create the desk. Luckily, my dad is a collector of all things vintage and antique, so it wasn't difficult to find things that were accurate for the period in which the film is set; the 1930's. All of the props are from the right era; including a tin of Brasso, a Tin of Uncle Joe's Meatballs, a 30's Cluedo set, a vintage stapler with boxes of stables around it (these stables are larger than the ones we use today) and all of the books are either pre-30's or contemporary with the era; including The Big Sleep by Raymond Chandler; the book which the title of my film The Huge Snooze pastiches:
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