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We broke down the data into four graphical treatments - a list of every curse word and how many times it was said, a chart showing just the F-words, a chart showing all of the curse words listed in relation to each other, and then a breakout of which characters are the most profane. Rogers! Fuck you, bow tie! A real fucking idiot!”) (After Jonah Hill’s Donnie swallows a junior trader’s goldfish, for example, you hear unspecified co-workers yell, “Get the fuck out of here! Fuck off, Mr. Good job, Slate! But that doesn’t mean that this new area of exploration can’t keep moving forward: I can be the Edison to Slate’s Ben Franklin in advancing the study of counting depraved stockbrokers yelling “fuck.” While they kept their research to the F-word family (and, for the record, while both of us disagreed with Wikipedia, we came up with different numbers: Slate’s 544 to my 569), I also noted every shit, dick, cock, and so on - delivered by all characters, be they main, supporting, or even lost in a crowd.
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Dealing with the volume of it was the difficult thing about this movie.ĪD: It also seemed like many of the scenes had a lot of people.Then, my research done and sent to our art department to graph, those fucking fucks over at Slate had to publish a very similar piece last evening. I think we had something like 150 locations. This was a movie that had quite a large number of locations and a lot of sets to be done. They do it because they think it's a fun idea, or, I think in this case, they had teenage daughters who said, “I will just die if you don’t let Leonardo DiCaprio film at our house.”ĪD: What was your biggest challenge in designing the sets?īS: This wasn’t the kind of movie where one set was much harder than the others. The people who have that kind of home aren't going to be the people who are really doing it because they need the money. It's amazing that people allow filming in their houses at all. The furnishings were slightly overscale, sort of shabby chic.ĪD: Where were the houses used for filming located?īS: The beach house was in Sands Point, New York, and the mansion was in Old Brookville, New York. Their actual beach house was decorated in a much more traditional manner. It didn’t have a very good flow to the rooms in a way that you really want for the camera. It was traditional and had a Tudor influence, but it was much, much smaller. You need a bit of relief from the traditional.ĪD: Did you look at pictures of Jordan Belfort's actual homes?īS: Yes, we did, and we scouted his actual home. After a certain point, just so you don't get tired looking at the film, you have to do a bit of theme and variation of set. The house we ended up choosing looked sort of ’80s, with that planked siding. The last office attempted to look more dignified, even though obviously they were anything but dignified.īS: For practical reasons, we were not looking in the Hamptons.
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We embraced the teal that was already there and added some glass blocks to make it look more overtly of the period. I decided that it would be a good contrast to the eventual handsome color palette of the last office. We scouted a location that probably had been renovated in the ’80s, and some of the door frames were powder-coated anodized aluminum, and some of it was teal already. Again, they weren’t completely altering the space to suit their own purposes. Slowly that stuff moves out and we filled it up with desks.ĪD: How did things change when the firm moved to the city?īS: It was a little harder to say what the difference between the second-to-last Stratton Oakmont or Stratton Oakmont 2, as we called it, and Stratton Oakmont 3. There was even a car up on blocks without its wheels. If you look in the background in the first scene, there are racks that still have equipment, tires, fan belts, and those kinds of things on them. We had a location that we thought was pretty great. It reiterates Belfort’s perspective on his career as a stockbroker in New York. The premise of the film is inspired by the 2007 memoir of the same name penned by Jordan Belfort. It's not something you’d pick up in the film, but the flooring was different on the opposite side of the room, because they used to be different stores.ĪD: What about the auto body shop turned brokerage?īS: The body shop takes care of itself as written in the script. Directed by Martin Scorsese, The Wolf of Wall Street is a 2013 released biographical black comedy film. We had two retail spaces that were combined. They make a few changes as they go along and leave certain things. BS: I had designed The Sopranos for many years, so I was familiar with what I refer to as the ”train wreck school of design.” When it's not a very upscale company, they don't go in and gut the space.