NYPD Blue
9/29/2022 | 29m 16sVideo has Closed Captions
Huell takes a look behind the scenes at the popular TV show NYPD BLUE.
Huell takes a look behind the scenes at the popular TV show NYPD BLUE, where he learns how they make a Los Angeles TV studio look and feel like a real New York police precinct. Huell speaks with to the Production Designer, and as a special treat, everyone’s favorite, Dennis Franz (aka Sipowicz).
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Visiting with Huell Howser is a local public television program presented by PBS SoCal
NYPD Blue
9/29/2022 | 29m 16sVideo has Closed Captions
Huell takes a look behind the scenes at the popular TV show NYPD BLUE, where he learns how they make a Los Angeles TV studio look and feel like a real New York police precinct. Huell speaks with to the Production Designer, and as a special treat, everyone’s favorite, Dennis Franz (aka Sipowicz).
Problems with Closed Captions? Closed Captioning Feedback
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Learn Moreabout PBS online sponsorshipVISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.
HUELL>> WELL, THIS IS EXCITING WE'RE HERE ON THE 20TH CENTURY FOX LOT.
WE ARE ON THE SET OF NYPD BLUE, WHICH IS ONE OF MY FAVORITE TELL VIPTION PROGRAMS, ONE OF YOURS AS WELL.
WE'RE VISITING WITH DAVID SMITH, YOUR OFFICIAL TITLE IS?
>> I'M THE SET DIRECTOR OF NYPD.
HUELL>> WE WILL FIND OUT WHAT THAT MEANS AS THIS SHOW PROGRESSES.
WE WOULD LIKE TO SHOW SOME ASPECTS OF THE INDUSTRY THAT MOST OF US, WATCHING TELEVISION, DON'T NOTICE OR APPRECIATE.
IT'S JUST PART OF THE SCENERY.
WE PLAN ON HEIGHTENING EVERYONE'S AWARENESS ON WHAT YOU DO.
>> THANK YOU.
I'M SO GLAD YOU ARE HERE.
HUELL>> WE START OFF WITH THE MAIN CHARACTER OVER HERE.
NOW THIS LOOKS LIKE?
>> I THINK IT IS.
HUELL>> THIS LOOKS LIKE THE SET.
DENNIS.
>> HOW ARE YOU DOING, HUELL.
GOOD TO SEE HUELL>> WE'RE DELIGHTED TO BE HERE.
THE WHOLE IDEA IS TO EXPLAIN TO PEOPLE HOW IMPORTANT SET DIRECTION IS.
>> PARTICULARLY ON A SHOW LIKE OURS IT'S RESPONSIBLE TO IT.
THE MAGIC TAKES PLACE FROM THE SET DIRECTORS.
MANY PEOPLE WE FILM IN NEW YORK, AT A STATION HOUSE IN NEW YORK.
HOW DISAPPOINTED THEY ARE WHEN THEY FIND OUT IT'S DONE HERE IN LOS ANGELES.
DAVID IS RESPONSIBLE FOR MAKING IT LOOK DARK AND ALL OF THIS.
AND THIS, MY DESK.
HUELL>> LET'S LOOK AT YOUR DESK.
EVERYTHING ON YOUR DESK IS PLACED HERE FOR A REASON AND NOT HERE BY CHANCE.
>> NO.
IT'S ALL HERE FOR SPECIFIC REASONS.
THESE ARE ALL POLICE FORMS AND THEY'RE TYPED OUT WITH SOMETHING ON THEM.
THE DESK GETS MOVED AROUND, THEY'RE ON ROLLERS SO WE CAN MOVE THEM INTO DIFFERENT POSITIONS.
HUELL>> AND THE THINGS ON THE DESK?
>> THERE'S A FEW CONSTANTS.
MY EIGHT BALL IS HERE, THEY'RE USE AD LOT.
MY FROGS HERE, THEY'RE HERE FROM DAY ONE.
I THINK THIS IS THE IMPORTANT DESK IN THE HOUSE, MY CANDY DRAWER.
YOU WANT A GUMMY BURGER.
HUELL>> YOU ARE RESPONSIBLE FOR THIS?
>> NO.
BUT WE LIKE A HAPPY CREW, THAT'S ALL PART OF IT.
HUELL>> DOES IT HELP AN ACTOR WHEN YOU FEEL YOU ARE?
THAT SITUATION?
>> IT HELPS VERY MUCH.
ESPECIALLY ON THE TEMPORARY SETS IF WE GO INTO SOMEONE'S AN APARTMENT.
WE WANT INTO THESE SETS AND FEEL LIKE I'M IN AN APARTMENT.
I LOOK AROUND AND SIT ON THE COUCH AND ADMIRE ALL OF THE THOUGHT THAT GOES INTO MAKING THIS.
INTRICATE THINGS THAT GO INTO MAKING THE VARIOUS SETS ARE SO REAL AND ACCURATE.
IT'S BECAUSE OF THE WORK THAT DAVID DOES.
HUELL>> WHEN YOU COME IN HERE, THIS IS YOUR HOME REALLY ISN'T IT?
>> THIS IS WHERE WE SPEND THE MAJORITY OF OUR TIME.
HUELL>> YOU FEEL AT HOME HERE.
>> I DO.
THIS IS THE LIEUTENANT'S OFFICE.
HE AND I ROLL OUT THE CARPET IN THERE.
THEN WE HAVE OUR LOCKER ROOM IN THERE WHERE WE GET A LOT ACCOMPLISHED IN THERE.
HUELL>> YOU HAVE BEEN IN FIGHTS IN THAT LOCKER ROOM.
>> YES.
HUELL>> WHERE IS THAT?
>> RIGHT HERE.
IT'S IN DISARRAY NOW, IT'S DISASSEMBLED AND DARK.
HUELL>> THAT'S OKAY, IT GOES WITH THE FEELING.
>> WELL, THEY MOVED THE WALL BACK HERE SO WE CAN SNEAK IN AND OUT.
WHEN WE'RE READY TO SHOOS SHOOáT THE WALLS COME OUT.
HUELL>> NOW IS THIS PART OF THE SET THE SCOPE AND THE PRE SHAVE AND AFTER SHAVE LOTION.
>> THINK IT'S BEEN HERE FROM THE BEGINNING.
HUELL>> ONCE IT'S HERE IT NEVER LEAVES.
>> YES.
LIKE THE FLOOR WE'RE A SHOW LIKE BATINA.
ONCE IT'S THERE IT'S ESTABLISHED FOR A LONG TIME.
>> YOU ARE GOING TO GIVE US THE WHOLE TOUR.
>> YOU GO AND HAVE A GREAT TIME.
I'M A BIG FAD FAN IT'S GREAT TO MEET YOU.
HUELL>> SORRY WE'VE CUT INTO YOUR LUNCH HOUR.
THANK YOU, SIR.
>> HUELL, THE DESK IS ALSO PART OF THE PROPERTY DEPARTMENT.
THE PROP MASTER TAKES CARE OF THAT.
THE WALLS ARE DESIGNED BY THE SET DESIGNERS, AND WE ALL WORK HAND AND HAND TO CREATE THIS.
HUELL>> THESE PICTURES, WHAT'S WRITTEN ON THE BOARD.
>> THE PROP AND MY GUYS TAKE CARE OF THIS.
HUELL>> ALL OF THESE PAPERS.
>> YES.
THE PICTURES WE KEEP UP WITH THOSE AS THEY'RE SENT TO US FROM THE POLICE DEPARTMENT IN NEW YORK.
HUELL>> SO THE PRESENT COMMISSIONER.
>> YES.
AND BILL CLARK, ONE OF OUR PRODUCERS KEEPS ON THIS WITH A FINE TOOTH COMB.
HUELL>> THEIR POLICE COMMISSIONS IN NEW YORK ARE SEEING THEMSELVES ON THE WALL OF NYPD.
>> INDEED.
HUELL>> LOOK AT THIS, LOUIE.
HERE'S PRECINCT 15 OFFICE.
>> CORRECT.
HUELL>> THIS IS ONE THE WE HAVE GROWN TO LOVE AND KNOW.
AND RIGHT OVER HERE.
LOUIE CAN'T MAKE IT HERE, BUT HE CAN STAND HERE.
>> WE'RE ON STREET.
THIS IS A DROP TO SHOW ACROSS THE STREET FROM THE PRECINCT.
THIS IS A NEW PROCESS AND NYPD WAS THE FIRST SHOW TO USE THIS.
THESE WINDOWS ARE CLEAR AND ON THE BACK THEY'RE BLACKED OUT TO SHOOT IT DAY OR NIGHT.
>> OKAY.
NOW WE'RE GOING DOWN TO, THERE'S MORE OF THE PERMANENT SET, THESE STAY THE SAME FROM WEEK TO WEEK.
>> CORRECT.
HUELL>> OKAY LET'S CONTINUE TO LOOK AT THE PERMANENT PART OF THE SET.
>> GREAT.
>> STOP.
STOP.
HUELL>> NOW WE'RE COMING DOWN THE STAIRS JUST LIKE I SEE THEM DO ON THE SHOW TO PROVE A POINT.
>> WELL THE POINT IS IT'S THE MAGIC OF HOLLYWOOD.
EVEN THOUGH WE'RE ENTERING THE GROUND FLOOR WE ARE IN THE PRECINCT.
THIS IS BUILT A FLOOR AND A HALF UP AND THEN THERE'S A HOLE IN THE GROUND.
HUELL>> THE STAIRS DON'T GO ANYWHERE.
>> NOWHERE.
HUELL>> WHO IS THIS GUY OVER HERE?
>> HI, I'M BILL.
ONE OF THE BACKGROUND ACTORS I PLAY AN ANTICRIME COP.
SGLUER A NARK.
>> YES AND I'M PRACTICING MY GUITAR AND WORKING ON MY MUSIC.
HUELL>> CONTINUE, WILL YOU ADD A BACKGROUND AMBIENCE TO THE PLACE.
WE'RE NOW IN?
>> THIS IS THE FIRST FLOOR PRECINCT.
WHEN THIS WAS FIRST DONE FIVE OR SIX YEARS AGO, AN EMMY WAS WON FOR THE SHOW AND THIS WAS PART OF IT.
HUELL>> FOR SET?
>> FOR BEST ART DIRECTION.
HUELL>> NOW WHO ARE THESE FELLOWS HERE?
>> THIS IS GORDON, MY RIGHT HAND MAN.
HIS CRAFT IS A LEAD MAN.
HUELL>> LEAD MAN.
>> I'M CURT FOSTER WITH THE LIGHTING DEPARTMENT HERE.
>> WE LIKE TO USE LOTS OF FIXTURES.
>> AND YOUR NAME?
>> BOBBY.
KEY GRIP ON THE SHOW.
HUELL>> KEY GRIP.
>> EXACTLY.
HUELL>> HOW DO THESE GUYS GET INTO IT?
>> I THOUGHT YOU MAY NEED LIGHTS ON.
HUELL>> HOW DID THE KEY GRIP GET ON HERE?
>> I JUST WOKE UP.
>> PROBABLY ON THE BED I TOLD HIM NOT TO SLEEP ON.
HUELL>> AND OVER HERE , THIS IS ALL SET DIRECTION.
IT'S NOT REAL.
>> WELL IT'S REAL.
EXACT LEE.
CTLY.
>> WE TRY TO MAKE IT AS REAL AS POSSIBLE.
THESE ARE REAL MACHINES THAT ROLL IN AND OUT.
HUELL>> THE WALLS LOOK LIKE THEY NEED TO BE PAINTED.
>> ABSOLUTELY.
HUELL>> THE FLOOR IS OLD WILL HE NOEL LIN LINOLIUM.
>> THIS IS OUR LIGHTING ROOM.
HUELL>> WHO IS THIS?
>> MIKE, I'M WITH THE COSTUME DEPARTMENT.
HUELL>> YOU THOUGHT YOU CAME IN HERE FOR A BREAK 6789 >> A LUNCH BREAK.
SGLUE COME TO THE RADIO ROOM TO DO YOUR LUNCH BREAK?
>> I COME IN HERE TO GET A BREAK AND STUDY.
>> WHAT'S THIS?
>> CALIFORNIA'S CIVIL ACTION CODES.
HUELL>> STUDYING TO BE A LAWYER?
>> NO.
HUELL>> THIS IS THE RADIO ROOM AND THIS BOARD IS SET UP WITH REAL FORMS.
>> YES WHEN THE SHOW WAS FIRST DONE AND BECAUSE BILL CLARK IS A RETIRED DETECTIVE AND CO PRODUCER, WE HAVE ACCESS TO REAL WORK AND REAL POLICE THINGS THAT OTHER SHOWS DON'T HAVE THE OPPORTUNITY TO HAVE.
IT ADDS A NICE BELIEVABILITY TO IT.
HUELL>> WHERE DO YOU GET LITTLE DETAILS LIKE THE CHAIR AND THE BENCH?
THE BENCH IS AN OLD BENCH.
>> ABSOLUTELY.
A LOT OF THIS IS PURCHASED AT OLD USED OFFICE STORES.
HUELL>> LOOK AT THIS.
THIS IS OLD.
>> INDEED.
PROBABLY A LITTLE OLDER THEN IT SHOULD BE.
HUELL>> WHEN ARE YOU GOING TO UPDATE THE COMPUTERS IN THE PRECINCT?
>> IN THE NEXT YEAR OR SO IT'S BEGUN TO HAPPEN IN NEW YORK ALREADY.
HUELL>> NOW WE'RE OUTSIDE , THIS SAY FAMOUS STREET?
>> THIS IS MULBERRY STREET.
IT WAS BUILT ORIGINALLY FOR "HELLO, DOLLY" AND THEN IT WAS USED FOR "CIVIL WARS" AND NOW IT'S PRETTY MUCH OURS EXCLUSIVELY.
"CHICAGO HOPE" AND OTHERS USE IT FROM TIME TO TIME.
WE OWN IT FOR THE SEASON THOUGH.
HUELL>> THIS IS SUPPOSE TO BE A NEW YORK NEIGHBORHOOD?
>> YES.
LAST EPISODE WE SHOT THIS WITH A SHOE STORE HERE AND A GROCERY STORE AND VARIOUS OTHER FASADS.
NOW WE ARE GOING TO SHOOT THESE TWO STORE FRONTS FOR THE NEXT EPISODE, ONE AS A BAR FOR EPISODE 13 AND THEN A RESTAURANT FOR EPISODE 14.
>> OVER THERE.
>> YES.
THEN WE COME OUT AT NIGHT NEXT MONDAY AND TUESDAY AND SHOOT THE EXTERIORS OF BOTH STORE FRONTS.
HUELL>> SO THIS IS THE BAR?
>> EXACTLY.
HUELL>> SO THE IDEA IS THEY'RE MAKING THIS INTO A?
>> INTO A BAR, CORRECT.
>> WHICH WILL BE IN ONE SCENE IN ONE OF THE EPISODES.
>> EXACT LEE.
HUELL>> THIS IS ONLY USED ONCE?
>> ONE TIME.
HUELL>> IT'S JUST A STRAIGHT BAR NOW, WHAT ARE YOU GOING TO DO?
YOU PUT THE ALCOHOL, GET THE GLASSES?
>> THE NEON SIGNS THAT GO BEHIND THE BAR, THE FIXTURES, THE BOOTHS AND THE TABLES COME IN.
WINDOW DRESSING WITH LETTERING ON THE WINDOWS.
HUELL>> YOU ARE RESPONSIBLE FOR FINDING THE BOTTLES AND GLASSES, WHERE DO YOU GO?
>> THIS SHOW IS RUNNING FOR A LONG TIME AND WE HAVE OUR OWN STOCK.
IF I CAN TELL YOU HOW MANY TIMES WE USE THESE TWO SPOTS, THE FLOOR IS THE SAME.
HUELL>> AND EVERYTHING ELSE MOVERS AROUND?
>> YES.
HUELL>> THESE GUY ARES PAINTING UP THE WALLS.
>> AS YOU CAN SEE, EARLIER WE WERE TALKING ABOUT, TALKING ABOUT SET DECORATING.
IN REALITY WE ALL WORK >> THE PAINTERS ARE PART OF WHAT YOU DO?
>> YES.
I BRING THINGS IN FOR THEM TO PAINT THEM DOWN.
THIS IS A BASE COAT.
>> PUT PAINT UP THAT LOOKS AGED AND OLD AND CRACKED.
>> ON THIS SHOW, YES.
HUELL>> I'M BEGINING TO GET THE THEME.
WATCH YOUR STEP S LOUIE, THERE'S A LOT OF STUFF HERE.
>> THERE'S A CONSTANT THREAD ON OUR SHOW BATINA AND GRIT.
HUELL>> WHAT WILL THIS BE?
>> A RESTAURANT IN THE THEATER DISTRICT.
THEY'RE GOING TO A PRODUCTION OF "ANNIE GOT YOUR GUN" AND AFTER THEY'RE COMING HERE FOR DINNER.
HUELL>> SO YOU BRING IN THE TABLES AND LINENS.
>> AND BROADWAY SHOW POSTERS AND PLAY BILLS AND HOPEFULLY IT WILL LOOK LIKE A RESTAURANT.
HUELL>> THEN IT WILL BE USED ONE TIME AND THEN GUT IT AND MAKE IT INTO SOMETHING ELSE.
>> YES.
HUELL>> YOU ARE CONSTANTLY REINVENTING THOSE SPACES.
>> YES.
THIS BAR FOR EPISODE 13 WAS SUPPOSE TO BE PART OF THIS.
LAST NIGHT WE WERE TURNING ON A DIME, DROCH A HAT.
HUELL>> WHEN ARE THESE EPISODES GOING TO AIR?
>> THIS RESTAURANT SHOULD AIR MARCH 2ND, THE BAR IS THE WEEK BEFORE THAT, THE LAST WEEK IN FEBRUARY.
HUELL>> QUICK TURN AROUND.
>> YES WE SHOOT A HE SNOWED EIGHT DAYS AND THEN WHILE THEY SHOOT WE PREP.
SGLUE GET THE SETS READY FROM SCRATCH FOR NEXT WEEK , THIS WEEK.
>> YES.
I SHOULD BE AT A MEETING TALKING ABOUT THE NEXT EPISODE.
>> THAT'S ALL RIGHT.
NOW TO ANOTHER SET.
WHAT ARE YOU DOING?
>> PUTTING AWAY THE PROPS.
HUELL>> YOU ARE THE PROP GUY?
>> PART OF THE SCENE.
HUELL>> YOU ARE PART OF THE TEAM.
>> PART OF IT.
HUELL>> HUELL HOWSER NICE TO MEET YOU.
>> NICE TO MEET YOU.
HUELL>> WHAT DO WE HAVE HERE?
>> PICTURES.
HUELL>> PICTURES.
SOIFRJTS THIS IS PART OF THE COP BAR.
WE HAVE TROPHIES AND PICTURES.
HUELL>> YOU HAVE BOXES OF THESE THINGS AND SOME BAR STOOLS.
>> YES AND SOME MORE SET DRESSING IS COMING IN LATER THIS AFTERNOON.
HUELL>> SO THERE ARE NO TWO DAYS A LIKE ON THIS JOB IS THERE?
>> NO.
EVERY DAY IS DIFFERENT.
FROM THE COP BAR TO THE PRECINCT, EXTERIOR TO THE STREET.
>> WHEN YOU ARE IN THE REAL WORLD DO YOU SPOT THINGS AND BUY THEM AND BRING THEM IN FOR THE SET.
>> YES, TRASHCANS AND OLD THINGS WE FIND THROUGHOUT THE CITY.
HUELL>> IN OTHER WORDS, ANYTHING OLD IN THE CITY IS FAIR GAME FOR NYPD.
>> YES.
HUELL>> JUST ABOUT.
>> WE OFTEN CALL IN AND SAY ON SUCH A SUCH PLACE ON AN ALLEY IS THE FOLLOWING TRASH, GO OUT AND PICK IT UP.
YOU JUST CAN'T GET THAT BATINA EVERY DAY AT A PROP HOUSE.
HUELL>> I LIKE IT.
NICE TO MEET YOU.
>> NICE TO MEET YOU.
HUELL>> LOOK AT THESE GUYS THEY'RE ALL BUILDING THE SET?
>> THESE ARE PROP MAKERS BUILDING THE SET.
THIS HAS PLAYED A COUPLE OF TIMES, YOU MAY NOT RECOGNIZE IT.
IT PROBABLY HASN'T AIRED YET.
HUELL>> I DON'T KNOW WHAT WE'RE LOOKING AT.
>> WE REBUILD AND REUSE THINGS ALL THE TIME.
THESE ARE THE PROP MAKERS.
HUELL>> HOWDY, HOW ARE YOU DOING?
>> GREAT HUELL>> WORKING ON THE SET?
>> YES.
HUELL>> YOU WORK ON SOMETHING NEW EVERY WEEK?
>> YES.
>> SO DO THEY GIVE YOU A SCHEDULE EVERY WEEK?
>> DIFFERENT TEXTURES AND THINGS.
HUELL>> WHO IS THIS SNEER >> THE CARPENTER.
HUELL>> YOU ARE BOTH PAR PENTERS.
>> I'M A PLASTER.
>> I CARPENTER AND PLASTER.
THERE ARE MANY DIFFERENT AREAS.
>> A LOT UNIONS AND CRAFTS.
SET DIRECTORS AND KARP PENTERS AND CARPET PEOPLE.
>> YES WE WOKE THE OTHER GUY UP.
>> EXCELLENT.
NOW I SAW YOU IN SLAB CITY LAST NIGHT.
HUELL>> YES.
>> MY PARENTS GO OUT THERE ALL OF THE TIME.
HUELL>> WOW.
SO YOU HAVE AN EDUCATED GROUP HERE.
>> YES.
>> GREAT TO MEET YOU, HUELL.
HUELL>> NOW WE'RE GOING DOWN INTO THE BASEMENT.
OKAY.
>> WATCH YOUR HEAD.
HUELL>> WE ARE IN, THIS LOOKS LIKE A DARK, KIND OF A BASEMENT IN AN APARTMENT BUILDING.
YOU ARE DOING WHAT?
>> PAINTING AND MAKING BRICK.
HUELL>> MAKING IT LOOK OLD?
>> MAKING IT LOOK OLD AND PUTTING THE BRICK COLORS ON FIRST AND THEN AGE THAT DOWN AND GIVE IT AN OLD OLD LOOK.
HUELL>> THIS IS NOT REALLY BRICK, WHAT IS THIS?
>> THIS IS PLASTER.
THAT'S THE BENEFIT OF OUR SHOW WE HAVE THE LUXURY TO DO THIS REAL HUELL>> NOW AS A SET DIRECTOR WHAT WOULD DO YOU HERE IN THE BASEMENT?
>> PART OF MY COMPLIANT AS A DIRECTER IS WE DON'T GET TO SET UNTIL THE LAST MINUTE.
BUT THEY FINISH PAINTING HERE BITTENED OF THE DAY, WE WILL START IN HERE TOMORROW.
HANG LIGHT FIXTURES, DO CONDUIT AND THEN THE PIPES.
HUELL>> SO YOU HAD TO GO OUT AND FIND AN OLD IF YOU ARE NOT ACE?
>> WELL WE HAVE RENTED ONE ABOUT THREE TIMES.
THIS IS ON A ROLLING PLATFORM.
EARLIER WE WERE TALK ABOUT FINDING THINGS IN THE TRASH.
WE FOUND THIS IN THE TRASH AND WE WILL PAINTING IT AND AGE IT MORE.
>> THE POINT S YOU MAKE IT LOOK SO REAL THAT PEOPLE THINK IT'S SHOT IN AN OLD BASEMENT.
>> WE LIKE TO FLATTER OURSELVES, WE HOPE.
>> THAT'S WHAT IT LOOKS LIKE.
>> I HOPE SO THAT'S OUR GOAL.
>> WE TRY DO, A LOT RESEARCH.
HUELL>> WHAT DO YOU MEAN RESEARCH?
>> WHEN YOU TRAVEL AND HANG OUT.
HUELL>> HANG OUT IN OLD BASEMENTS.
>> YES, YOU OBSERVE THE DIFFERENT PLACES AND DIFFERENT COUNTRIES AND DIFFERENT AREAS, THE LOOKS.
HUELL>> CLEARLY THIS SORT OF TEXTURE ON THE WALL , THIS LOOK.
IT SPEAKS A LOT.
THE THINGS THAT I BRING IN HERE ONLY ACCENTUATE THIS.
THIS GIVES US SUCH A GREAT BACKGROUND.
THE WORK BENCH, THE IF YOU ARE NOT TOUR, THE DEBRIS ON THE FLOOR, THE PILES OF WOOD IT ALL BRING THIS IS TO LIFE AND WORK.
HUELL>> THIS IS MEANT TO LOOK LIKE WHAT?
>> THIS IS A STAIRWELL WE USED A COUPLE OF SEASONS AGO.
THERE'S A PIT IN THE GROUND AND THEN GOES UP A FLIGHT AND A HALF OF STAIRS.
HUELL>> THIS IS SUPPOSE TO BE TOá LOOK LIKE IN >> A CITY APARTMENT.
HUELL>> FOR THIS EPISODE.
>> YES.
>> DO WHá DO WE SEE THIS AáPT AP SEWED?
>> MARCH 2ND.
THIS HAS BEEN MANY DIFFERENT STAIRWELLS.
HUELL>> ARE YOU GOING TO PUT ANYTHING ON THE WALLS?
LOOK AT THE FLOOR, THE OLD FLOOR THAT YOU WOULD OF SEEN.
>> YES.
HUELL>> THIS LOOKS LIKE ALE OLD TENIMENT HALLWAY IN NEW YORK.
>> YES, AND WE DEEP THAT WAY.
THERE WILL BE FLUORESCENT FIXTURES AND TRASH.
HUELL>> AND WHAT'S HERE?
>> THIS IS THE APARTMENT PRIET ABOVE THE BASEMENT WE SAW.
THIS IS A FAIRLY OLD EAST SIDE TENIMENT.
WE HAD TO HAVE A WINDOW HOOR.
HUELL>> WHAT WILL WE SEE IN HERE WHEN WE SEE THIS ON THE AIR?
>> A POOR MAN IN A MANIC DEPRESSANT STATE.
HIS WIFE AND CHILDREN HAVE LEFT HIM, HE MAY BE THE PERPETRATOR, WE DON'T KNOW YET.
HUELL>> WHEN YOU SET THESE APARTMENTS YOU GET INTO THE SCRIPT AND FEEL OF THE CHARACTER WHO... YOU KNOW THE FEEL OF THE PERSON.
THE CHARACTER OF THE PERSON THAT WOULD LIVE HERE?
>> THAT'S WHAT WE TRY TO PORTRAY, THE LIFE THAT GOES ON HERE.
YOU MAY NOT SEE ALL OF IT, IT HELPS WHEN THE ACTOR COMES IN.
THERE WILL BE A RADIATOR HERE AND FIXTURES AND -- HUELL>> THE KITCHEN WILL BE FULL OF STUFF?
>> YES.
HUELL>> CLEAN OR DIRTY KITCHEN?
>> THE TENANT HERE WASHES THE DOGS ?T BUILDING.
HUELL>> HERE'S A LADY PAINTING HERE?
>> WE HAVE LOTS OF PAINTERS.
HUELL>> THAT'S A NICE PAINT JOB.
THAT LOOKS LIKE THE DOOR SHOULD BE LIKE THIS INSTEAD OF BEING NEW.
>> WE WILL AGE IT AFTER WE PAINT IT NEW.
>> THIS IS THE FIRST STAGE OF WHAT YOU DO.
HOW DO YOU AGE IT?
>> THE SAME HERE, THERE WILL BE ROLL, MIX A CHEMICAL WITH THE PAINT.
HUELL>> SPRAY THE GRAFFITI ON THERE?
>> YES.
>> WE HAVE A GUY THAT HAS A GREAT HAND FOR GRAFFITI.
>> YOU DON'T SEPARATE GRAFFITI?
>> NO.
HUELL>> THESE ARE THE SIGNS FOR MULBERRY STREET.
>> ABSOLUTELY.
THIS HAS BEEN HAND PAINTED.
THERE'S VINYL ON THAT ONE, MY JOB TO ATTACH THE LIGHTS TO THESE AND LIGHT THEM UP AND PUT THEM OUT.
HUELL>> THIS LOOKS LIKE A MOVIE LOT.
>> ABSOLUTELY.
HUELL>> THIS IS THE WORKING.
>> YES.
HUELL>> RIGHT OVER HERE, WE WERE IN THERE.
>> EXACTLY.
>> EVERYTHING GETS ANOTHER COAT AND AGED DOWN.
WE HAVE A JOKE ON OUR SHOW IF IT'S TOO CLEAN IT WILL NEVER MAKE IT N. HUELL>> WE'RE BACK WHERE WE STARTED.
NOW THEY'RE BACK FROM LUNCH AND READY TO DO SERIOUS FILM MAKING.
LOOK, THERE ARE THE STAR THERE'S.
>> THINK THEY'RE THE STANDINS FOR THE STARS.
HUELL>> I THOUGHT THAT WAS RICH.
>> THAT'S HIS STAND IN.
HUELL>> FOOLED ME.
THAT'S YOUR BUSINESS.
>> YES.
THE BUSINESS TO FOOL.
>> THIS HAS BEEN FASCINATING FOR AWFUL US.
THIS IS JUST ONE TELEVISION SERIES.
EVERY MOVIE WE SEE IS MADE POSSIBLE BY PEOPLE LIKE YOURSELVES, THE ZEST DECORATERS, SXAUFL THESE OTHER PEOPLE.
YOU WORK TOGETHER AS A FAMILY.
>> YES.
THE ART DIRECTOR, PROEP DUX ASSISTANTS, ACTORS, PROP MAKERS WE WORK TOGETHER.
I'M PROUD OF MY CRAFT SDMIFRNGT WE DO A TERRIFIC JOB.
>> A LOT ACTIVITY GOING ON HERE.
THIS IS EXCITING TO US TO BE ON THE SET WHEN ITS A LIVE LIKE THIS.
THIS WHOLE PROGRAM HAS MADE ALL OF US MORE AWARE.
NOW WHEN WE WATCH THESE PARTICULAR EPISODES OF NYPD WE SHOULD ALL LOOK CLOSELY FOR THE BASEMENT, FOR THE PRECINCT ROOM, FOR AWFUL THESE THINGS WE VISITED TODAY.
I THINK IT WILL GIVE US ALL A NEW APPRECIATION FOR THE WORK EVERYBODY DOES.
>> I HOPE SO, HUELL.
IT'S ONLY TWO OR THREE MINUTESES OF FILM BUT WE ENJOY.
HUELL>> IT'S YOUR GIFT AND PASSION AND ART.
>> INDEED.
>> THANK YOU, VERY MUCH.
>> THANK YOU.
HUELL>> THERE'S A LOT OF ACTIVITY ALL OF A SUDDEN.
>> ABSOLUTE LEE.
HUELL>> YOU HAVE TWO OR THREE CAMERAS GOING HERE, A LOT GOING ON.
>> IT'S GREAT.
HUELL>> YOU HAVE TO LEAVE AND GO ON.
>> I AM GOING TO HOL, I WISH I COULD TAKE YOU WITH ME.
I'M GOING TO SOME PROP HOUSES.
HUELL>> TO FURNISH THE ROOM FOR NEXT WEEK?
>> YES.
HUELL>> THEY KEEP YOU GOING FOR EACH WEEK.
>> YES.
HUELL>> WE HAVE HAD A LOT OF FUN AND PAID TRIBUTE TO ALL OF THE MEN AND WOMEN THAT MAKE HOLLYWOOD POSSIBLE.
"CAPTIONING EQUIPMENT DONATED BY LLOYD RIGLER AND PERFORMED BY RAPIDTEXT" VISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRONT FROM THE RALPH M
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