And the city welcomed them, if not quite with open arms (prevent people from parking on select blocks of the Upper East Side and you will hear about it), then at least with an open mind - as well as some attractive tax incentives. But as cameras got smaller and more mobile, the movies gradually returned to New York. The industry’s migration to the West Coast dampened things somewhat - films like Rear Window were made entirely on studio back lots - though even then productions sometimes earmarked a few days to get footage of the actual city. As a veteran location scout put it to me, you get millions of dollars in production value just by setting up the camera.įrom the early days of silent shorts, the movies have always loved shooting on New York’s streets. So why do filmmakers keep coming back? Because the city has an energy you can’t get anywhere else: the bebop beat, the sidewalk theater, the sense that the unpredictable is just around the corner. (That’s why they invented Hollywood.) The city is crowded, cranky, and expensive. New York is not the easiest place to shoot a movie.
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