In the late twenties and early thirties, vibrant color epitomized everything
that was new and desirable. Production designer David Nichols and art director
Roland Rosenkranz realized the importance of it to this period and to the
story in recreating this era.
The Lintz's Brooklyn estate was an important site for the film. And because
it doesn't exist anymore, Nichols and Rosenkranz used their imaginations
to reflect Trudy Lintz's character in the house's appearance.
A Los Angeles mansion doubled for this locale. The design team painted it
rich terra cotta and sea green, added architectural details, and re-landscaped
the grounds to suit their needs, and to represent Trudy Lintz. "Trudy
was a very energetic woman so the color palette of her home had to be bright
and saturated," says Nichols.
The designers also realized that Trudy was not only an elegant, stylish
woman but one with a sense of play and humor, so they infused the house
and grounds with whimsy and fun. We added huge topiary animals to the yard,
and gave the apes' rooms and play things a look of fantasy," says Rosenkranz.
To this end, the designers collaborated with co-producer Bill Joyce, the
renowned children's book illustrator and author. Joyce first worked with
Caroline Thompson to firmly establish the chimps individual personalities.
He then painted the prototypes for the painted sequences at the backs of
their cages, to represent them. For example, Captain Jiggs' cage had a painting
of Jiggs standing on a ship with a spyglass. And the feminine Maggie had
a cage mural of a chimp among flowers. Additionally, Joyce designed the
yard's animal-themed teeter-totter and slide.
A great amount of effort went into re-creating the magical Chicago world's
fair - A Century of Progress Chicago International Exposition of 1933, with
a grand total attendance of over 48 million people in its two-year existence.
The designers researched the real fair as a foundation, and then built and
embellished it on a studio backlot.
"Although it was an incredible exposition for its time, it was a little
plain and unsophisticated by today's standards, so we made it more elaborate
and dramatic to suit the film's needs," explains Rosenkranz. "For
instance, we made the European streets radiate vividly. And our Mayan Temple
was much grander than the original," he says.
Producer Steve Nicolaides regards the fair as one of the film's most important
locations. "It's the turning point, the pinnacle moment in the plot
because Trudy is at the height of her glory, exhibiting her domesticated
apes. But, ironically, here, for the first time, Buddy is perceived as a
beast when he runs amok in the fair," says Nicolaides.
The company also shot on such practical Los Angeles sites as The Museum
of Natural History, the Orpheum Theater and the Griffith Park Zoo.
Esteemed costume designer Colleen Atwood also fashioned Trudy Lintz's eclectic
wardrobe to reflect her eccentric personality. After conferring with Rene
Russo and Caroline Thompson, it was decided that because Lintz was wealthy,
worldly and unconventional, "We wanted her to wear ethnic clothes made
from fabrics of India or China; as if she brought back these fabrics from
her travels and had her clothes made," explains Atwood. Atwood also
went to England to get opulent antique textiles to make Russo's costumes.
"Handwoven fabrics were really popular in the 1920s, and England has
a great selection," says Atwood.
Atwood had fun designing the costumes for the chimps. Again, the designer
used antique fabrics and trims from England, and referred to wonderful children's
clothes of the period, for inspiration. Atwood was surprised at how the
chimps responded to their wardrobes. For example, "Bongo who played
Maggie, loved the costume fittings because she got so much attention. She
also seemed to adore her lilac dress. You could tell by the way she held
out the skirt and examined it. And Tarzan, who played Captain Jiggs, was
a dandy. He knew how to pose in clothes, and I think he just enjoyed feeling
them on his body," says Atwood.
What would a well-dressed gorilla wear in 1930? Atwood thought less was
more for the title character. "Buddy looked more dignified in less
clothes, so I designed English-tailored trousers and shirts for him,"
she says.
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