Filmed in NYC

[AmeriKenArtist]

I'd like to hear everybody's favorite movie that is filmed in the streets of New York. I want to rent a few flix soon, and want to enjoy as much of New York scenery as possible!

[Evgeny]

Ghostbusters 1 & 2.

The list on NYC movies:
http://en.wikipedia.org/wiki/List_of_movies_set_in_New_York_City

[thomasjfletcher]

Ghostbusters........
http://webpages.marshall.edu/~yeager10/pictures/ghostbusters.jpg

New York Public Library - This is where it all started.
http://www.nyc-architecture.com/MID/MID067-64.jpg

The librarian Alice got the socks scared off of her during an incident in the basement with a ghost. The New York Public Library is located at the corner of 42nd Street and Fifth Avenue. See the lion statues!
http://www.nyc-architecture.com/MID/MID067-62.jpg

Go into the Reading Room and hide under a table just like Egon (don't slam a book on the table like Peter did, it annoys people).
http://www.nyc-architecture.com/MID/MID067-33.jpg

Columbia University - This is the building you see under the superimposed Ghostbusters main title.
http://www.nyc-architecture.com/HAR/Harlem15.JPG

http://www.nyc-architecture.com/HAR/Harlem16.JPG

It's the college that Peter, Ray and Egon got thrown out of. The first you see of it, under the main title, is the view from the Low Library steps looking at Butler Library: stand behind the green statue. "Weaver Hall" in the movie is Havermeyer Hall at Columbia. The scene where they return from the library was shot on a path going past Low Library, heading towards the physics building (Low Library should be on your right as you walk). Trivia: During the main title you see two fields in front of the green statue- one with grass, one without. The money Columbia University made from "Ghostbusters" was used to sod the barren field.

Hook and Ladder No. 8 -
http://www.nyc-architecture.com/GV/PICT0154.JPG
The Ghostbusters fire house! Located at the corner of North Moore and Varick Streets. I went here, and it's a great place. The firemen are really nice and very tolerant of GB fans. They have the GB2 sign hanging up inside, an article in the Real Ghostbusters fan club magazine framed on the wall, a big bulletin board full of pictures from when the boys in gray were shooting, and their computer screen saver shows the words GHOST BUSTERS scrolling across the screen! They sell these awesome custom T-shirts there with the GB2 logo wearing a fireman's hat.

Sedgewick Hotel - It's actually the Algonquin Hotel, 59 West 44th Street.
http://www.dorothyparkernyc.com/images/gonk03.jpg

Rockefeller Center - During the music video montage, we briefly see the guys running across this place. It's got the golden statue in the back.

http://www.nyc-architecture.com/MID/rock1.jpg

City Hall - In real life it is near the Ghostbusters fire house, in the "civic center" of NYC. (Note: The Mayor's office scenes were shot in the City Council President's office.)
http://www.nyc-architecture.com/SCC/026E.jpg

Tavern-On-The-Green - Resist your urge to bang on the windows screaming "Help! Help!" as it annoys people. This is, after all, a very classy restaurant.
http://www.travelnewyork.com/tavern_on_the_green_photo.jpg
But if you really want to be annoying, stand in front of the Temple of Zuul and run across the street in the traffic, screaming, then jump over the wall just like Louis Tully. Yes, in real life they really are right across the street from each other. Which brings us to the next stop...

The Temple Of Zuul - In the movie it is 550 Central Park West, but in real life it's 55 Central Park West. No, there are no cracks in the ground from the earthquake, and the church next to it appears to have been repaired from when the Marshmallow Man stepped on it. 55 Central Park West is nowhere near as big and tall as the Temple of Zuul. But there is a kind of temple-like structure on top of it! (Does this bother you as much as it bothers me?!) And if you were to go up to the roof of the building, you'd see the exact view as the boys in gray did while battling Gozer.
http://www.us-benricho.com/other/pat/movie/images6/ghost.gif

http://www.carroantigo.com/imagens/carros%20no%20cinema/ghostbusters.jpg

http://www.sunpoint.net/~freakboy/ste-ghostbusters.gif


http://www.college.columbia.edu/cct/may00/images/ghostbusters.gif

[Evgeny]

Awesome post, thomasjfletcher!

[AmeriKenArtist]

Yes...amazing! Thanks!

[Marty]

A crap load of others includes vintage 70’s flicks like the award winning French Connection. One of the best car chase scenes ever filmed under the El, can’t get sick of it, how about the Warriors, in a time where the system was peppered in graffiti, street gangs fighting it out in the subway system, make you see how beautiful the city is today.
Wolfen about a wolf living in an abandoned church on Charlotte Street in the South Bronx! Filmed on location in l981! You get to see how bad the urban devastation of 25 years ago was, the church, Hollywood erected in that location it does not exist! Shaft the original; I actually prefer the remake with Samuel Jackson from a couple of years ago. Many street scenes from all over including Washington heights and Inwood! One of my favorites!

More to come I’m sure,


BFN

[Eugenius]

The first Spider-Man (although I am not a fan of the movie). Spidey zooms up and down Fifth Ave. Osborne, I believe, lives in Tudor City.

[ZippyTheChimp]

Saboteur

1942

Alfred Hitchcock.

Not one of his best works, but notable for signature Hitchcock devices, and topical in the America of 09/11.

Hitchcock frequently used historic monuments in his films to demonstate America's might and vulnerability - and with unique camera angles. In North by Northwest it was scampering across Presidents' heads at Mt Rushmore.

In Saboteur the scene with the arm of the Statue of Liberty, the wrongfully accused hero, the saboteur, and a suit jacket with faulty stitching is a classic.

There's the sheet of paper with a message floating down from a skyscraper window to the street below.

One of the sabotage plots was to bomb the Brooklyn Navy Yard. Outside the window of a car is a newsreel shot of the SS Normandie. In reality, the Normandie was being converted for war duty as a troop transport. A fire broke out and the ship capsized. For years, manty thought it was sabotage, but the fire was caused by a welding accident.
http://uncommonjourneys.com/pages/normandie/nmend1.jpg


The Navy was upset with Hitchcock for using the footage. Four years later, in the plot for Notorious, Hitchcock used uranium as the ingredient of a powerful weapon, and was put under surveillance by the FBI (sound familiar?).

------------------------------------------------------------------------

Not a movie, but for good location shots of Lower Manhattan in the 70s, check out the TV series Kojak. Film crews were always in the area - especially Washington Market.

[thomasjfletcher]

http://www.nyc-architecture.com/GON/lostny7.jpg

[Jack Ryan]

The first 'Men in Black' was pretty cool with their headquarters being inside the ventilator of the Brooklyn-Battery Tunnel. The best in my opinion, though, is 'Taxi Driver'. I clearly remember when New York was going to hell in a Balducci's bag with hookers at the Bellmore Cafetiria on Park Avenue South and apartments in Manhattan that a cab driver could easily afford!

[Bob]

The Valachi Papers. Supposed to be set in the 30s/40s. So how come there is a shot of lower Manhattan, showing the Twin Towers under construction?

(grin)

[Bob]

MIB 2. Some of the best distance shots of the Twin Towers, in any movie.

[Marty]

NYC on film is almost a sort of year by year time piece documentary. If someone died in 1977 to come back today they would never believe this was the Big Apple! In 50 years NYC has gone from being the capital of the world when the UN setup shop here; 25 years later being bankrupt to again the capital of the world at the start of this new millennium. It’s quite a transformation and captured on film every year since.

Taxi driver was a prime example of how far the city has gone through! It highlighted the bad going on in our society. Especially in NYC! Other movies that really are dated today include escape from the Bronx and Fort Apache “the Bronx” staring Ed Asner and Paul Newman highlighting urban blight and urban decay. 20 years ago no one would have thought the Bronx would come back! It did as did NYC.

New Jack City highlighted the crack cocaine epidemic of the late 80’s early 90’s. Remember at the time of this movie 1991 NYC was going through the highest homicide rate in the city’s history at about 2000 homicides a year.


M.

[WizardOfOss]

Some of my favorites:
- 25th Hour
- Cop Land
- Donnie Brasco
- Pi
- Home Alone 2 :oops:

[RandySavage]

"Wall Street" - THE classic NYC film.

"Igby Goes Down" - the title character runs away to SoHo and wanders all over the City.

"Working Girl" - it features the building I work in - 1 Chase Manhattan Plaza.

"Devil's Advocate" - a cool movie - the New York setting is key.

"Planes, Trains and Automobiles" - the opening sequence takes place on Park Ave.

"Trading Places" - mostly Philly but the last scene is at the World Trade Center.

"Fifth Element" - takes place in a New York City as imagined in the year 2100.

"Kids" - a very provocative film about the drug and sex-addled youth of the city. Washington Square park is featured.

"The Godfather" -

"Sleepers" - a great, but disturbing, movie taking place in Hell's Kitchen

"Die Hard with a Vengence" - great actioneer that takes place all over New York.

There are many, many more...

[ZippyTheChimp]

Midnight Cowboy (1969) Dustin Hoffman,Jon Voight
Times Square in the late sixties.

Saturday Night Fever (1977) John Travolta
Bay Ridge

Do The Right Thing (1989) Spike Lee
Bed-Stuy

Moonstruck (1987) Cher, Nicholas Cage
Lincoln Center, Brooklyn Heights, Lower Manhattan at night from Fulton Ferry - the old man speaking Italian to the dogs to get them to howl at the moon was ad-libbed.

The Naked City (1948) Film Noir New York. Lower East Side, Williamsburg Bridge.
As close as it gets to real post WWII New York. Street scenes were filmed with camera hidden in a van. Oscar for b&w cinematography.

[yyy]

There's a movie called Gremlins 2 ( http://movies2.nytimes.com/gst/movies/movie.html?v_id=20919 ) which was filmes in NYC. I like that one :D

[NYatKNIGHT]

Related topic:

http://forums.wirednewyork.com/viewtopic.php?t=2972&highlight=movies+york

List of Movies set in New York City (http://en.wikipedia.org/wiki/List_of_movies_set_in_New_York_City)

[MrShakespeare]

Here are two more:

Splash, I believe, was shot downtown for the first few scenes. I know that there is a great shot of the WTC (that I certainly remember). Tom Hanks and John Candy. Good stuff.

Trading Places was also shot, in part, in NYC. I think that the stock exchange and WTC plaza were both part of the film. Eddie Murphy and Dan Akroyd, and don't forget Jamie Lee Curtis...

[FrenchMan]

Hi!

"Clockers" ( Spike Lee, Brooklyn)

"Summer of Sam"( Spike Lee, Besonhurts)

"Carlito's way" ( Brian De Palma)

[jiw40]

Death Wish,Midnight Cowboy,The Fisher King,Godzilla(remake,torching Chrysler),that silly thing with Madonna and the runaway on top of Times Square marquee.

[kmistic]

Big w/ Tom Hanks
Short Circuit 2 w/ Johnny 5

these movies sparked my interest in NYC when i was a youngster.

[robster]

fame is pretty good. Good bits of the bronx and lower east side.

[Rem 311 JHF]

Maybe many of you Remember The 1974 Crime Thriller Called "The Taking of Pelham One Two Three"?!,It Starred The Late Actors Walter Matthau,Robert Shaw(Quint,The Shark Hunter from "Jaws"),Martin Balsam(TV's Archie Bunkers Place) & Hector Elizondo,The Film also Starred Earl Hindman(Wilson,The Neighbor from TV's "Home Improvement"),Tony Roberts("Serpico"),Jerry Stiller(TV's "The King of Queens") & Doris Roberts(TV's "Everybody loves Raymond").This Joseph Sargent Directed film That was Filmed on Location on The Streets of NY and On The Subway System Mostly along The Lexington Avenue Local Line & In The Tunnels of The Former IND Shuttle Between Court Street(The NYC Transit Museum) and Hoyt-Schemerhorn Street,Pelham tells The Stroy of 4 Gunmen(played by Shaw,Elizondo,Hindman & Balsam) Who Hijack a NY City Subway Train(The Pelham 1-2-3,The Name Meaning that The Train Bound for Brooklyn Bridge left The Pelham Bay Park Station at 1:23 PM) and Demand a Million Dollar Ransom from The City of NY,Walter Matthau Plays The Transit Police Office Named Garber who has to Stay in Contact w. The Leader(Played By Robert Shaw) of The Hijackers Named Mr. Blue,Blue is Given Garber and The NYC Officials Only 1 Hour to Get The Money Sent to Them or Else 1 out of 18 Of The Hostages will be Murdered for Every Minute That They're Late in Bringing the Money to Them.Lt.Garber(Matthau) has to Race Against Time to Make Sure That The Money Reaches Them on Time Which Means that a Police Escort Has to Go from The Lower Manhattan Branch of The Federal Reserve Bank all The Way Uptown in Busy City Traffic up to 28th Street & Park Avenue just to get The Money There on Time!!.Good Movie to Watch for Any New York Film Lover like Myself or Others and Is Available on DVD!!

[TLOZ Link5]

So long as we're talking about '70s crime movies, can't forget Klute (1971) and Superfly (1972).

[NYatKNIGHT]

While we're on this topic, I got a flyer on my door the other day - Martin Scorsese will be filming a movie called The Deceased on Sullivan Street next week.

[Rem 311 JHF]

Scorcese is a Good Director,He's Filming all over The NY City Area and Outside of The City as Well W. Jack Nicholson and Leonardo DiCaprio,A Few Weeks ago They Were Filming a few Scenes Up in Yonkers as Well as In The City Out in Greenpoint,Brooklyn!!

"SUPERFLY" Was Another Favorite of Mines too as Well as a Few Other Blaxploitation NY Films of The 1970's,films Such as: Black Caesar(W. Fred Williamson),Hell up in Harlem(The Sequel w. Williamson),Cotton Comes to Harlem(W.Redd Foxx from TV's Sanford & Son),Across 110th Street(W. Yaphet Kotto & Anthony Quinn)!!.

But "The French Connection" & "The Taking of Pelham One Two Three" are definetly 2 of My all Time NY Favorites!!.

[Ezra]

Dont forget "Bringing out the Dead!"

and "State of Grace" one of the best Gary Oldman films. and where my avatar comes from

[Ollie G]

I'm quite a fan of noir (I'm in training to be a director and therefore I see a lot of films) and these are few that I like and set in the great city.

Pickup on South Street
Laura
Sweet Smell of Success
Force of Evil
Detour (though none of the city is shown)
Scarlett Street
Street of Chance


Also

Once Upon A Time In America
Angels with Dirty Faces
The Roaring Twenties
Sleepy Hollow (set in 18th Century NY)

Also the futuristc city portayed by Fritz Lang in Metropolis was heavily influenced by the New York Skyline.

[lofter1]

"Taking Off", Milos Forman's first film made in the USA (1971) isn't on the Wikipedia list, most likely because, sadly, it's a wonderful movie shot in NYC that has been forgotten.

Some call it a masterpiece. I just I know love it.

Buck Henry stars along with a bunch of terrific NY actors. It's a very funny film about some suburban teenage girls who "take off" for the city and end up, of course, in Greenwich Village ... the parents try to track them down and understand what the heck is going on.

Great NYC locations, terrific script -- and really captures a spirit of the USA in the early 70s.

http://www.imdb.com/title/tt0067820/

And I'll give another plug to a great animated feature from the 1940's, "Hoppity Goes To Town"; it has great sequences showing the building of a skyscraper ... not to be missed!

http://www.imdb.com/title/tt0033727/

[NewYorkYankee]

Hitch was taped in NY.

[BrooklynRider]

War of the Worlds (2005)

First scene filmed in Red Hook.
Last scene filmed on my street - in Park Slope

[AmeriKenArtist]

Hitch was taped in NY.

I enjoyed all the (cityscape/streetscape) scenery!

[pianoman11686]

War of the Worlds (2005)

First scene filmed in Red Hook.
Last scene filmed on my street - in Park Slope

That's interesting to know. I saw the movie, and I thought (naively) that the last scene was filmed in Boston. The neighborhood looked like something right out of Beacon Hill, or one of those neighborhoods just west of downtown. It's funny, because it's almost always the other way around. Filmmakers shoot scenes in other cities and make it look like New York.

Law & Order: Why is it something not to brag about? And why do you assume that Brooklyn Rider was bragging? I assume you haven't seen the movie, because the last scene isn't one of destruction. Neither is the first. The bulk of the chaos and explosions actually happen in Jersey and upstate New York.

[billyblancoNYC]

http://nyc.gov/html/film/html/index/index.shtml

[BrooklynRider]

That's interesting to know. I saw the movie, and I thought (naively) that the last scene was filmed in Boston. The neighborhood looked like something right out of Beacon Hill, or one of those neighborhoods just west of downtown. It's funny, because it's almost always the other way around. Filmmakers shoot scenes in other cities and make it look like New York.


Yeah, the last scene was filmed from Fiske Place toward a brownstone on President Street. As the camera pans down the street you can see the Key Food and Old Dutch Reformed Church on 7th Avenue.

[pianoman11686]

New York Incognito

By RICHARD MORGAN

Published: July 24, 2005

STATEN ISLAND is perfect.

It has a long, nondescript highway. It has strip malls. It has trailer parks. It has grass-covered landfills smeared with the kind of lush growth usually seen only in finger paintings.

Jesse Peretz's shiny black S.U.V. pulls up to the nearest Manhattan-type outpost: a Starbucks on Richmond Avenue. Coffee container in hand, he stands in the parking lot and surveys the highway. "What do we think of this place?" he asks his entourage.

"This street has a great mall vibe," replies Dan Shaw, holding his coffee and surveying the scene. "There's a Costco, a Bed Bath & Beyond."

If the talk about vibe sounds awfully California for New Yorkers, that's because it is. Mr. Peretz is a movie director, and Mr. Shaw is his chief assistant. Along with other filmmakers, they have been lured to New York by new film-friendly city policies, particularly lucrative tax incentives available to films and most television shows. But there's a twist. To gain the greatest benefits, filmmakers must shoot a certain portion of the movie in the city, even if big chunks of the script call for scenes set in places far away, and far different, from New York.

Enter Staten Island, which is where Mr. Peretz is filming "Fast Track," a comedy starring Zach Braff and Amanda Peet as a New York couple who move to Columbus, Ohio, after the birth of their first child. Mr. Peretz, who radiates a boyish optimism and bedhead-and-jeans poise, is roaming the borough to find someplace that looks like a Midwestern city. Appropriately enough, the production company hoping to pull off this feat is called This Is That Productions.

This type of location-scouting in the boroughs outside Manhattan is hardly new; part of "Splendor in the Grass," the 1961 film of teenage love set in rural Kansas and starring Natalie Wood and Warren Beatty, was filmed in Staten Island and the Bronx, among other places. But as the tax incentives and other policies designed to encourage moviemaking prompt an industry revival, more and more filmmakers are following in Mr. Peretz's footsteps.

Exploring New York's nooks and crannies, they are seeking to turn "this" into "that." The Cathedral of St. John the Divine becomes Yale University. A brownstone block in Brooklyn Heights stands in for Beacon Hill. Raoul's in SoHo stands in for a restaurant on Boston's Charles Street.

"Over half of my job," said Mark Bodnar, a freelance location manager, "is finding things that aren't in New York but finding them here."

Movie Magnet

The new incentives offer a tax credit or rebate of 15 percent - 10 percent from the state and 5 percent from the city - for certain production costs. For stage work to qualify, 75 percent of its costs must be incurred at a city-certified facility. For offstage work, such as postproduction or on-location shooting, 75 percent of the film's total shooting days must occur within the five boroughs, or at least $3 million must be spent at certified stage space. The state tax credit took effect in August 2004, the city credit in January 2005.

These breaks seek to lure filmmakers back from Canada, whose own aggressive tax incentives, passed in 1998, led to a fall in productions in New York. In fact, the drop was a nosedive: Total annual shooting days in the city, as measured by the Mayor's Office of Film, Theater and Broadcasting, declined to 14,858 days in 2002 from 22,851 days in 1998. Although some of that decline was due to a threatened strike by the Screen Actors Guild and the uneasiness immediately after 9/11, much of the blame for the defection is put squarely on Canada's shoulders, not to mention the country's cheaper dollar.

But the new incentives have set off a turnabout. Since January 2005, the tax incentives have added an estimated 6,000 jobs and $300 million in revenue to the city's film industry, a significant increase in a business that in recent years has posted average annual revenues of $5 billion and 100,000 jobs. Combined with other film-friendly city efforts, such as advertising aid for filmmakers and the building of the 280,000-square-foot Steiner Studios in the Brooklyn Navy Yard, the anticipated tax breaks increased the city's film production days to 23,321 last year, a 57 percent rise over the trough of 2002. (The figures for 2005 have yet to be tallied.)

Similarly, when the heavyweight producer Scott Rudin wanted to shut down a chunk of the F.D.R. Drive for "Changing Lanes," a 2002 thriller with Ben Affleck and Samuel L. Jackson, the city was glad to oblige, even though a few months later it denied a similar request from another film. The difference? Mr. Rudin has a reputation for doing a lot of theater work within the five boroughs. "The city recognizes people who continue to come here," said Stuart Nicolai, the assistant location manager for "Changing Lanes." "One hand washes the other."

However film-friendly New York may be, some in the industry argue that the city favors the big players. Small, low-budget, independent operations, which now include newer New York-based filmmakers, don't register on the tax-incentive radar and consequently get little attention, they say.

"They're looking at the dollars coming in to the city, not the pennies," Mr. Nicolai said. "But it's all kinds of movies, big and small, that have made New York the great city for film that it is. The independents will always be filming here, though, because this is where the people have the skill and where they'll work for nothing. But the mayor's office is looking for those days when 'Godzilla' and 'Independence Day' were filming every day."

And there are limits to the city's cooperation. Ms. Oliver's office helped "Spider-Man 2" get valuable publicity on the "Today" show, but when the makers of the film wanted to film a scene on elevated subway tracks, they went to Chicago because they couldn't get subway access in New York.

More basically, even with tax breaks and other help, New York is not a cheap place to work. "Filmmakers will go wherever they get more bang for their buck," said John Fedynich, a location manager for both Spider-Man films. "I was just in Prague. You can shoot there for $2,000 a month. Here it's $100,000, $200,000 a month."

The makers of "Fast Track" are among the growing ranks of converts. "This is exactly the kind of movie that didn't used to film here," Mr. Shaw said. "Fast Track," with a midlevel budget of $10 million to $15 million, is too big a production to squeak under the radar with dicey nonunion labor and too small to just shovel money at the city to get whatever it wants.

Members of the crew for "Fast Track" explored Chinatown in the quest for places that could double as one of the film's major on-screen locales, Columbus, Ohio.

The film company's name fits its task: This Is That Productions.
For Mr. Peretz, who went from playing bass in the punk band Lemonheads to shooting music videos for the Foo Fighters, as well as television commercials for Holiday Inn and a few low-budget films, this is his first possible breakout commercial film. The tax credits let him take on a project he could not afford without them. "A year ago," he said, "we would have filmed this in Vancouver and L.A."

But the tax breaks are also a powerful magnet for much bigger names, such as the makers of "The Departed," an undercover police drama directed by Martin Scorsese and starring Matt Damon, Leonardo DiCaprio and Jack Nicholson. The producers of the film, which is due for release next summer, partially rejected the on-screen city, Boston, in favor of faking it on the streets of New York. That was a striking decision given that Mr. Scorsese is a renowned devotee of cinematic authenticity, and Mr. Damon is equally loyal to the city of Boston.

The city's film studios have profited from the new breaks, too, of course. "What the tax incentives have done," said Douglas C. Steiner, chairman of Steiner Studios, "is bring about a sea change in Hollywood about how they do business in New York. New York used to be an exception in production. You used to come here only because you had a big reason. Now we're considered from Day 1."

Back in the "Fast Track" S.U.V. on Staten Island, members of the crew are wondering if anyone famous is from Ohio ("Isn't Drew Carey from Ohio?") while Tom Richmond, the film's cinematographer, gazes at the traffic and asks: "Do cars need license plates on the front in Ohio? I mean, are we going to have a noticeable invasion of New Yorkers driving around in our highway scenes?"

Mr. Shaw, who lived in Columbus for a few months during the making of another film, cannot recall much about Ohio license plates, so John Paino, the production designer, puts a call in to the production's main office asking if someone there can find out. In the front seat of the van, Mr. Peretz is simultaneously talking on two phones - "Dear" in one hand, "Sweetie" in the other.

Free Ads, Cheap Bagels

Tax breaks are not the only new benefit the city dangles before filmmakers. Another is free advertising on city property, like bus shelters and phone kiosks, that is worth the equivalent of 1 percent of a film's total production costs. Toronto could try to match that, but it hardly needs saying that a bus shelter there lacks both the audience and the resonance of one in Times Square.

More broadly, New York has a business-friendly "concierge" approach to filmmaking, said Katherine Oliver, the city's film commissioner. "In the last few years," she said, "other cities have gotten extremely aggressive. We compete with New Mexico, Illinois, Louisiana, Hawaii."

In response, the city stepped up the game. New York now has a squad of 30 police officers who help oversee filming locations, and also offers film crews discounts to hotels, Crunch Gym, Applebee's, H & H Bagels and other local businesses. In partnership with HSBC Bank, the city also offers banking services tailored to come-and-go productions, such as a streamlined account opening process.

Add in a new municipal flexibility. In 2003, a location manager named Carla Raij had a big request. For "Stay," a drama starring Ewan McGregor and Naomi Watts about an Ivy League professor who tries to prevent a student's suicide, she wanted permission to shut down Manhattan-bound traffic on the Brooklyn Bridge from 10 p.m. to 5 a.m. over a two-week period. She got it. Such cooperation is appreciated because, as Ms. Raij pointed out, despite all the talk of wild spending in moviemaking, "as the actors get paid more and more, there's less money to put on the screen."

Locations are dodgy, and film crews' courtship of them can be as fleeting as any other Hollywood romance. The "Fast Track" crew visited Queens a few days after the trip to Staten Island, and mulled the possibility of replacing the island's Richmond Avenue, set for the role of a generic Ohio highway, with tree-lined Francis Lewis Boulevard in Fresh Meadows. Such a switch might work well because Union Turnpike, which is near the boulevard, is a contender for a quaint Midwestern Main Street. Lots of small mom-and-pop shops.

"What do we think?" Mr. Peretz asks as the "Fast Track" car cruises the turnpike. "Could you believe - if you don't look closely and notice how many of these restaurants are kosher - that this is Columbus?" One possible sticking point: Union also goes by the name Rabbi Israel Mowshowitz Way.

Sleights of Screen

Whatever the limits of the tax breaks, they have turned the hunt for noncity locales into a thriving cottage industry. The location manager Mr. Bodnar, who now spends more than half his time on that task, has a ready answer for any geographic challenge.

For the rural South? "I'd head to Rockaway Beach and all those great abandoned Army barracks there."

For farmland? Floyd Bennett Field, in Brooklyn.

For the desert? A marble-and-tile quarry on Staten Island.

And, of course, there's Brooklyn, where his scouting company, Where'bouts, is based. "Brooklyn can cheat as anywhere in America," Mr. Bodnar said. "Just south of Prospect Park, people have yards, big backyards, Victorian houses. It's suburban. It's a neighborhood. It could be anywhere."

Ms. Raij, the location manager who borrowed the Brooklyn Bridge, is equally enthusiastic about performing these sleights of screen. "It's not difficult," she said of using New York as a stand-in for Boston in Mr. Scorsese's film. "Though that'll break the hearts of people in Boston." As she recalls, she was standing on Beacon Hill in Boston when Mr. Scorsese turned to her and said, "What the hell. This is Brooklyn Heights. Let's go."

In reality, it wasn't quite that easy, but Ms. Raij did patch together a Brooklynized version of Boston: Brooklyn Heights subbed for Beacon Hill, for example, and Williamsburg for Southie. Paradoxically, when the script called for a restaurant scene set specifically on Boston's Charles Street ("their Madison Avenue," Ms. Raij said), no restaurant interiors in Boston were deemed Boston enough. So the scene was shot at Raoul's, in SoHo.

"This is a new education for this town," she said. "We've only known the reverse: people grabbing our iconic locations and leaving town for the rest."

And of course, part of what allows New York to be so flexible is just standard Hollywood trickery. "There's a guy riding a bike through Bronx Community College at night - if we tell people it's Yale, they'll believe us," said Chris Brigham, executive producer for "The Good Shepherd," a film about the C.I.A. directed by Robert De Niro, in which the five boroughs become Washington and suburban Virginia. The movie, which is being made in New York specifically because of the city's tax credits, also uses St. John the Divine as a stand-in for Yale.

But the city is not always so easily masked. "New York is a very specific city," said Mr. Nicolai, Mr. Rudin's colleague on "Changing Lanes." "If you pan a little one way, you see the Chrysler Building. You can cheat, but it's hard. There are a few streets that can pass for Boston. Some elevated trains that can work as Chicago. But even that is switching city for city. If your script requires something rural or small, New York doesn't really provide that."

Pausing a bit, he amended his pessimism: "Well, you'd have to look pretty hard and use a lot of imagination. But if you want something bad enough, you can find something in New York. You can find Kansas if you have to."

Mr. Brigham of "The Good Shepherd" also acknowledged the trade-offs involved. "You lose a little," he said. "You sacrifice something to make it work. You lose a wider angle or something. But the audience isn't going to know what it doesn't see."

At the end of the sojourn on Staten Island, Mr. Peretz leans against his car window, aimlessly staring outside. Then suddenly he starts smacking the glass. "Wait! Wait! See that? See that?" he says as the car idles at a red light. He is pointing to a house with a cluttered front yard. "That's what I'm talking about! That's it! That's our wellness center!"

The other passengers in the S.U.V. flip to the pages of their scripts that mention the wellness center, while Mr. Richmond takes quick digital pictures of the house and Mr. Paino makes comments about architectural details like the flag poking horizontally out of the porch posts. Mr. Shaw scribbles down the name of the business, Relax on Cloud 9.

He stares again at the building. "Where are we?" he demands of no one in particular.

They are in Staten Island, perhaps the best island the Midwest has to offer.

Copyright 2005 The New York Times Company

[NYC]

Arsenic and Old Lace is a great one for Brooklyn stero types. I just watched the Pawnbroker. That was a weird one. Rod Steiger plays a Jewish Pawnbroker in Harlem. He's great.

[Merry]

Two quirky New York film favourites of mine:

A Thousand Clowns, 1965, Jason Robards
Crossing Delancey, 1988, Amy Irving

[asg]

F/X (1986) Murder! Special effects? This time it's for real!

Short Circuit 2 (1988) Some say he's nuts. Some say he's bolts.

Working Girl (1988) Giggly secretary with ambition.

Splash (1984) Two days ago, this girl showed up naked at the Statue of Liberty.

[pianoman11686]

Is anyone else annoyed by how a lot of movies filmed in New York show the action moving irrationality from one place to another? If you don't know what I mean, an example is this: The main character is leaving for JFK from his East Side hotel, and at the end of the movie his cab is shown going south in Times Square. The movement just makes no sense whatsoever, and while most people probably have no idea, it bothers me a lot.

The most blatant ignorance of the Manhattan street grid I've seen is in New York Minute. Don't ask me why I was watching it. After 20 minutes I had enough and started staring at a wall. But during those 20 minutes, I must have seen the Olsen twins go across the Brooklyn Bridge, up to Columbia, back down to City Hall, then Central Park, then Times Square, and finally, back to Columbia. I think they also managed to check into "The Plaza" for a few minutes, except this Plaza was at least 30 stories tall, and had an alley behind it. It enfuriated me. Spider-Man 2, while one of my favorite movies, also had a lot of movement and views of the city that didn't seem to make sense. I guess that was more because of the fact that they filmed in Chicago for the most part.

[Tex]

Saturday Night Fever

Taxi Driver

Pope of Greenwich Village

One Fine Day

Green Card

Breakfast at Tiffany's

Went to Coney Island on a Mission From God...

Wall Street

[jiw40]

Coogan's Bluff-classic Clint-great chase scene through the park with Don Stroud(who always played a great heavy)

[AmeriKenArtist]

I happened to come across the fantastic opening NYC scenes in "Black Rain" on amc last night. Mike Douglas racing on a motorcycle beneath the Brooklyn and Manhattan bridges??? Tooo Much!

[Gregory Tenenbaum]

I have Bronx Warriors 2 on Laserdisc, should anyone like to borrow my copy.

The only film I know filmed in NY that had a character named "Toblerone".

If you don't want to borrow that one, I have Clash of the Titans on Laserdisc but I don't think that it was filmed in NYC as I believe that is was filmed on Ming's planet.

[sunimoto]

Pi was filmed in NYC as well

[lofter1]

I have Clash of the Titans on Laserdisc but I don't think that it was filmed in NYC as I believe that is was filmed on Ming's planet.
Actually it was filmed in Spain.

Harry Hamlin met Ursula Andress on the shoot, and they subsequently had a child together.

[Swede]

@pianoman - Now that I've been to NYC and after being on the forums (SSP...) so long I notice that all the time. One scene in Leon (the profesional) is especially weird - she takes the Roosevelt Island Tram from Manhattan but when she looks back it's a view from Jersey...

[Gregory Tenenbaum]

Actually it was filmed in Spain.

Harry Hamlin met Ursula Andress on the shoot, and they subsequently had a child together.

Well Sir you are "Full O' Interesting Facts".

I wonder what ever happened to Dale Arden - I used to have a crush on her.

[lofter1]

Dale Arden ... mmmmmmmmmmmmmmmmm ;)

Which one??

A .....

http://images1.moviemarket.co.uk/library/photos/248/248749.jpg


Or B .................

http://images1.moviemarket.co.uk/library/photos/177/177887.jpg

[Gregory Tenenbaum]

Why, Melody Anderson of course!

Who's the other one?

[Gregory Tenenbaum]

I have Bronx Warriors 2 on Laserdisc, should anyone like to borrow my copy.

The only film I know filmed in NY that had a character named "Toblerone".

If you don't want to borrow that one, I have Clash of the Titans on Laserdisc but I don't think that it was filmed in NYC as I believe that is was filmed on Ming's planet.

Obviously everybody, I mixed up flash gordon and clash of the titans in that post.

Shameful really.

But i won't ever mix them up with The Black Hole - another classic from that "Love Boat era" that wasn't filmed in NY.

[lofter1]

Who's the other one?

That is the ever-lovely Jean Rogers -- Dale Arden Numero Uno.

Here she is with Buster Crabbe (the original Flash):

http://images1.moviemarket.co.uk/library/photos/177/177884.jpg


For some pics of Melody as Dale: http://www.moviemarket.co.uk/Melody_Anderson_P202256/

++

[lofter1]

But neither Melody or Jean hold a candle to Ursula ...

( Did any of these three ever make a movie in NYC ? )


The one and only Honeychile Ryder from "Dr. No"


http://www.bikiniscience.com/chronology/1960-1965_SS/UA6310_S/UA6310_J/UA631010.JPG


http://www.cultsirens.com/andress/andress.htm

+++

[lofter1]

Also see Adriana Lima.
NYC Movie thread ....

(At least give the appearance of making an attempt via some tangential excuse for going so far off topic.)

:rolleyes: :rolleyes: :rolleyes:

[lofter1]

OK ^ you made it work.

Now for something completely different and befitting a soggy weekend after midnight...



ULTRARARE FILMS FROM THE FACTORY


a n d f r o m t h e m i n d o f


ANDY WARHOL


many shot in the bowels of manhattan


http://www.subcin.com/warhol.htm

+++

[lofter1]

a fantastic link to "factorymade": http://www.factorymade.org/video/index.html

Lots of video here from and about the warhol years @ nyc

[lofter1]

Right Out of Film Noir, a Shadowy New York

By WENDELL JAMIESON
Published: December 2, 2005

http://www.nytimes.com/2005/12/02/movies/MoviesFeatures/02city.html?pagewanted=1

http://graphics8.nytimes.com/images/2005/12/02/arts/city.583.1.jpg
Ting-Li Wang/The New York Times

Many New York City neighborhoods and landmarks, including the Triborough Bridge
are extensively featured in classic film noir.


NEW York is Film Noir City: as I move through it, I scout locations for my imaginary 1947 thriller. All I need is a little night - plenty of that this time of year - and the last six decades are gone.

The director of my imagination who wants to make the archetypal film noir of my imagination has endless miles to work with: whole swaths of Manhattan, especially the garment district and Wall Street, and much of downtown Brooklyn and Queens. The city is still filled with bars and restaurants that opened in the 1940's and early 50's, the years that bookend the classic film noir cycle.



http://graphics8.nytimes.com/images/misc/spacer.gif
http://graphics8.nytimes.com/images/2005/12/02/arts/noir.184.2.450.jpg


http://graphics8.nytimes.com/images/misc/spacer.gifhttp://graphics8.nytimes.com/images/misc/spacer.gif
20th Century Fox

A scene from the 1950 film "Where the Sidewalk Ends."


My obsession with the movies of this period is in full flower these days because, on Tuesday, 20th Century Fox Home Video is set to release three especially good noirs on DVD: "The Dark Corner" (http://movies2.nytimes.com/gst/movies/movie.html?v_id=12242&inline=nyt_ttl) (1946), "Kiss of Death" (http://movies2.nytimes.com/gst/movies/titlelist.html?v_idlist=85460;27533;186724;134831; 301331&inline=nyt_ttl) (1947) and "Where the Sidewalk Ends" (http://movies2.nytimes.com/gst/movies/movie.html?v_id=116631&inline=nyt_ttl) (1950). All are beautiful new prints and are accompanied by various extras and commentaries. "Where the Sidewalk Ends" is an especially big treat because, as far as I can tell, it was never officially released on video.

All three movies take place in New York City, and the city is a major character in each one. "Kiss of Death" trumpets its use of actual locations in the opening credits, while the other two splice studio work with second-unit exteriors shot around the city.

To watch all three back-to-back in one sitting is to hypnotically experience another New York. Not the actual metropolis of the late 1940's as you might see in a Ken Burns (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=83608&inline=nyt-per) documentary, but a New York City that was probably as realistic then as the New York City portrayed in movies is today.

It is a proto-New York, a heightened New York, a super-New Yorky New York, a city of supreme alienation, overcrowded sidewalks, pitch-black menace, thick accents, way too many cigarettes, packed bars that always have one empty table, exaggerated street noise, and skyscrapers that exist solely to have characters pushed off them.

It is also a New York where class distinctions are as sharp as late afternoon shadows: police officers make fun of fancy rich folks buying expensive art; all the criminals know one another; waiters are always genial although they are treated poorly; and anyone who tries to pull himself up to the next social level ends up dead or suffering terribly.

Many of the locations in the films have since changed or disappeared. But many still exist. And for every one that is gone, well, that's not a problem - I've scouted dozens around the city to take their places.

The Mystery on Third Avenue

"The Dark Corner," which was directed by Henry Hathaway and stars Mark Stevens (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=68150&inline=nyt-per), Clifton Webb (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=75151&inline=nyt-per), William Bendix and a surprisingly sexy Lucille Ball (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=3574&inline=nyt-per), opens with a deep-focus shot of the rattling Third Avenue El. The camera then pans down to focus on two street signs above an intersection: Third Avenue and Grand Street.

Thus, one mystery occurs in the first seconds, because these two streets don't intersect: not today, and not in maps of Manhattan from around the period. Then as now, Third Avenue merges at Cooper Square into the Bowery.

The El is a presence throughout the movie, its cross ties, stanchions and stairways acting as a shadowy geometric spider web, and its perpetual racket contributing to the paranoia of Stevens's private detective, whose office window is feet from the tracks. Today, of course, the El is gone from Manhattan, but it's easy enough to get a sense of it by visiting Brighton Beach Avenue in Brooklyn, nine blocks of which sit in slanting shadow beneath the elevated B and Q trains.

This is where the lead character in my fictional film noir would catch his train. Woody Allen (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=79388&inline=nyt-per) saw the similarities, too: he shot a scene for his 1940's period comedy "The Curse of the Jade Scorpion" (http://movies2.nytimes.com/gst/movies/movie.html?v_id=250119&inline=nyt_ttl) at the bottom of an entrance stairway there.

"The Dark Corner" features an explosive set piece in a skyscraper called "The Grant Building." Webb lures Bendix here, telling him he has a dentist appointment on the 31st floor, and then shoves him to his death through a conveniently opened, oversize window.

"The Grant Building" shown in the movie is actually 500 Fifth Avenue, at the corner of 42nd Street. It was built in 1931 and designed by the firm of Shreve, Lamb & Harmon, who also designed the Empire State Building. The elevators today look as if they were redone in the 1990's, but the 31st floor itself is quite noir - orange-yellow marble walls, stone floors inlaid with brass, old glass mail shoots. And there is a dentist on the floor, Dr. Scott M. Fine, D.D.S.

"Oh my God," he said, when told of the coincidence. His suite, which he has leased for 10 years, was specially designed for a dentist when the building went up, he said - it came with all the intricate plumbing necessary for those little sinks.

"The windows are nice windows," he said between patients. "They are large enough to hurl someone out of, but I don't know if you can open them up that wide anymore."

Neighborhood Recollections

"Kiss of Death," which was also directed by Hathaway and stars Victor Mature (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=46528&inline=nyt-per) and Richard Widmark, opens with a twilight river shot of downtown Manhattan. It quickly segues to a robbery in the Chrysler Building, the director making considerable use of the over-the-top Art Deco lobby and elevators.

In the middle of the film, Mature's character, Nick Bianco, moves with his new wife and daughters into a brick house on 14th Street in Astoria, Queens. The location is an almost perfect example of urban claustrophobia battling the suburban ideal: the block ends in the wide-open expanse of Astoria Park, but the city looms ever-present in the distance, represented by the Triborough Bridge, which was new back then, and the ominous black arch of the Hell Gate railway bridge.

Today 14th Street has the same suburb-in-city feel, although an apartment building has gone up on the corner and the trees in the park have grown so large that they block much of the view.

"Kiss of Death" lingers in the collective memory of the block. A woman named Mrs. Smith lived in 25-28, the brick house with a wrought-iron fence next to the house where Bianco lived (that house has since been torn down). Fran Favretto, who grew up next to Mrs. Smith, remembers her elderly neighbor talking about the day they filmed.

"It was a big thing to her," Ms. Favretto said while standing on the sidewalk where Bianco's daughters roller-skated. "She had a scrapbook of it."

Her neighbor, Eva Raby, joined in the conversation: "That guy, Victor Mature - he was a tough guy always. I know Victor Mature - he was in 'Samson and Delilah.' "

He was also already a big star when "Kiss of Death" was made, but others weren't. This was Widmark's first movie: he is not even credited on the front of the DVD box. He plays Tommy Udo, the villain, the giggling psychotic killer who, in the film's most famous scene, hurls a wheelchair-bound woman down a flight of stairs.

Udo speaks in the kind of New York accent that I remember hearing often when I was growing up in the 1970's but that seems to have faded since. The last real one I heard belonged to Ralph, the first super of my building. He came to my apartment to fix my terlet.

"Kiss of Death" ends with a shootout on an East Harlem street that is lighted in such a way that it looks like a Hollywood set. The action takes place inside and outside a restaurant called Luigi's on East 125th Street.

Today's stand-in for Luigi's could be Rao's, on East 114th Street, the 40-table celebrity hangout and gossip-column favorite where the red-sauce Italian food is probably much as it was back then. Rao's was the scene of a particularly old-school crime in December 2003: Louis Barone shot and killed Albert Circelli, both members of the Luchese crime family, when Mr. Circelli loudly criticized a woman serenading the Christmastime crowd.

The New York of Hollywood

"Where the Sidewalk Ends," which was directed by Otto Preminger and stars Dana Andrews (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=1708&inline=nyt-per) and Gene Tierney (http://movies2.nytimes.com/gst/movies/filmography.html?p_id=70970&inline=nyt-per), is probably the most polished film in the group, with bigger stars and higher production values. It features spectacular shots of Times Square and Lower Manhattan, especially those West-East side streets that end abruptly in the nighttime abyss of the East River, although the actors appear to have been filmed in Hollywood and then edited into the locations.

In the numerous interiors you get a sense of what Hollywood imagined New York to be: the movie features a stunningly seedy collection of vestibules, hallways and rooms, complete with rotting wood banisters and faded wallpaper. The atmosphere of the film is even more dank and oppressive than it is in the others.

The waterfront shots show what the East River vista looked like before the F.D.R. Drive went up at this point in 1954. But some things never change: there, in the background, a subway shudders inexplicably to a stop just as it ascends the Manhattan Bridge, and just as they inexplicably do today.

Dana Andrews's character, a detective, accidentally kills a mobster who lives at 58 Pike Street. This address is gone today, replaced by F.T.I. Auto Repairs, but if it were there, it would be on the opposite side of the street from the grimy row house in the movie. Pike Street is now twice as wide as it was then, and one side is completely given over to the hulking brick mass of the Rutgers Houses.

All this is Chinatown, of course, and the signage, restaurant names - even the smells coming from the bakeries and fish stores - would have been completely foreign to the characters in "Where the Sidewalk Ends." But other things have not changed, like the diminishing-perspective view of the Manhattan Bridge, and the clatter of the subway trains crossing it.

These are three great films, but they only scratch the surface of the city.

Most of it remains unfilmed. To me, walking around today, the Manhattan neighborhood that has best retained its inherent noirishness is the garment district along Eighth Avenue. You've got everything here - pawn shops, overflowing sidewalks, 1930's office buildings with stepped-back upper stories, liquor stores with neon signs and, right in the heart of it all, the Wakamba Cocktail Lounge, at 543 Eighth Avenue.

I can easily picture a scene from "The Dark Corner" set here beneath the ceiling of stucco and dark wood beams, the characters illuminated by the little red lights above the liquor bottles.

Like Rao's, the Wakamba was the site of a notorious crime. In March 2000, Patrick M. Dorismond, a security guard, was shot and killed in a scuffle with undercover police officers on the sidewalk. In all the still and television photographs of the crime scene, the yellow tape keeping the onlookers away, the Wakamba was there with its faux-stone red facade and awning.

Noir snapshots abound outside the garment district, of course; if you are obsessed, they are everywhere - the shafts of daylight that shoot down on the men making bisque in the Oyster Bar at Grand Central Terminal, or the view down West 23rd Street at sunset when the neon lights are on at the Chelsea Hotel. After taking it in, you can have a drink at the bar of El Quijote, the circa 1940 Spanish restaurant with snug booths and a clamorous cocktail hour. The place, like the recipes, seems unchanged from the day it opened.

The villains in "The Dark Corner," "Kiss of Death" and "Where the Sidewalk Ends" share comparable fates: they are either shot or arrested or both. This is a shared weakness of these movies, I think, because in other film noirs the bad guys meet far more creative ends: they are left dangling from the tops of bridges, sent screaming down elevator shafts, impaled on the hands of giant clocks or, in one, consumed by a runaway combine harvester.

In my imaginary New York City film noir, the doomed hero, after hatching the scheme at the bar of El Quijote, after pulling off the job in the Chrysler Building, after fleeing his pursuers in the garment district, would take a filmic time-leap to Brooklyn to meet his fate near my apartment, on a pedestrian walkway near the entrance to the Brooklyn-Battery Tunnel.

The arching walkway runs above 14 lanes of the Gowanus Expressway and Hamilton Avenue, and beneath four lanes of the Brooklyn-Queens Expressway. Traffic rushes below your feet and just feet above your head.

Our guy would run in desperation onto the walkway, with the cops in front of him and the mobsters he double-crossed coming up from behind. Trapped, he would consider making a jump, but it would be too late: he would be hit from the front and from behind, shot full of holes, Swiss-cheesed. As his life ebbed away, he would think of his little family in that house in Astoria, but the last image to flick across his cornea would be the filthy underside of the B.Q.E., vibrating as the trucks rumbled unknowingly above.


Copyright 2005 (http://www.nytimes.com/ref/membercenter/help/copyright.html)The New York Times Company (http://www.nytco.com/)

[ZippyTheChimp]

After his film-noir Double Indemnity, director Billy Wilder scored again with the more neorealistic

The Lost Weekend (1945)

Wilder cast a Hollywood matinee idol, Ray Milland, against type, as Don Birnam, an alcoholic writer spending a weekend alone in his East Side apartment, trying to work on a novel and avoid the bottle.

Both won Oscars, as did the film for best picture.

The set for Nat's Bar was PJ Clarke's (http://www.pjclarkes.com/), still on the corner of 3rd Ave and E55th St.

Lots of street level scenes: On Saturday, Birnam trudges uptown along 3rd Ave, wondering why all the pawnshops are closed. It's Yom Kippur.

The Bellevue Hospital detox ward

Having escaped from the hospital wearing a doctor's overcoat over his hospital pajamas, he stares at the bottles inside a closed liquor store. Shot from inside, behind him across the street is St Agnes Church on 43rd and 3rd.

[ECTO-1]

I'd just like to clear up something waaaaaaaaaaay back on the first page.

Someone mentions the Algonquin Hotel as being a location in the first Ghostbuster movie. Unfortunately, this is a twisted fact. The hallway sets used in the movie were PATTERNED after the Hotel, but the actual exterior shot and subsequent lobby shot were done in LA at the Biltmore Hotel.

[manchesterexport]

The remake of 'Alfie' used streets in Manchester, England to recreate the streets of NYC. Says a bit for my city!

[City Spire]

Two classic Meg Ryan & Tom Hanks movies in NY...

Sleepless in Seattle & You´ve got mail.:p

[Zebaron]

The 1970's version of The In-Laws had some exterior shots in NYC. Peter Falk's office was at 1270 Broadway; you may recall Falk telling his cab driver "1270 Broadway - - that's it, by the Stetson Hat sign" The Stetson Hat store was still there in the early 80's. (Interiors of the office were not the same as 1270 was actually laid out.)

After the escapade in Falk's office they had lunch in a supposedly nearby coffee shop, perhaps intended to be the old Chock Full of Nuts at 34th and 6th Ave.

[Gregory Tenenbaum]

Dale Arden ... mmmmmmmmmmmmmmmmm ;)

Which one??

A .....

http://images1.moviemarket.co.uk/library/photos/248/248749.jpg


Or B .................

http://images1.moviemarket.co.uk/library/photos/177/177887.jpg

Very good.

Now how about Red Sonja.

I have that movie on LASERDISC - IT OWNS.

Better than Nuns on the Run on VHS.

[BigMac]

In 1978's The Wiz, New York City doubles as the land of Oz, and Dorothy and friends visit the New York Public Library, Coney Island, the New York State Pavilion, and other landmarks. In a stroke of genius, the World Trade Center serves as the Emerald City.

I enjoyed the movie as a child and have always liked the dance sequence in Tobin Plaza, particularly due to the flattering night views of the complex. In my opinion, the towers rarely looked better on film, and The Wiz captures their appeal to the imagination.

[User Name]

American Psycho


Hands down my favorite NYC movie of all time... so far.

[Gregory Tenenbaum]

Kate and Chloe in Last Days of Disco..

Great characters, all of them.

[Wargun]

Yeah, the last scene was filmed from Fiske Place toward a brownstone on President Street. As the camera pans down the street you can see the Key Food and Old Dutch Reformed Church on 7th Avenue.

Actually, that would be Fiske Place towards a brownstone on Carroll St.

This was where I grew up and, watching War Of The Worlds, I was surprised to see that Boston looked so much like... "Hey! I know that street...."

[Nostalgic]

1. The World Of Henry Orient
2. Mr. Buddwing
3. Rosemary's Baby
4. Manhattan Murder Mystery
5. The Naked City

[antinimby]

A Perfect Murder starring Michael Douglas, Gwyneth Paltrow and Viggo Mortensen.

Saw it on DVD last night and I highly recommend it. Lots of intrigue and suspense.

Takes place and appears to be filmed entirely in New York.

[antinimby]

Have a couple more to add.

Don't Say a Word with Michael Douglas and Brittany Murphy. Douglas' family lives in the Ansonia in the UWS in this one.

Manhattan Murder Mystery with Woody Allen, Diane Keaton and Alan Alda.

Sidewalks of New York with Edward Burns, Brittany Murphy, Rosario Dawson, Heather Graham and Stanley Tucci.

All of these were pretty good.