Marty supreme's set design secrets: how a production designer crafted 1950s nyc

A new york tapestry: recreating 1950s nyc

The film Marty Supreme, directed by Josh Safdie, plunges audiences into the gritty world of 1950s New York, following the unlikely rise of table tennis prodigy Marty Mauser (Timothée Chalamet). But beyond the compelling narrative, the film’s meticulous set design is garnering critical acclaim, with veteran production designer Jack Fisk revealing the secrets behind bringing the era to life. Fisk, a seasoned professional with a career spanning five decades, sought to capture the authentic atmosphere of the time, a challenge he embraced with characteristic enthusiasm.

Finding the heart of the era: lawrence’s table tennis club

At the core of Marty’s world is Lawrence’s Table Tennis Club, a pivotal location for the protagonist. Fisk meticulously recreated this Black-owned, Prohibition-era speakeasy, drawing inspiration from archival imagery and city tax records. He even located the original floor plan, allowing him to reconstruct the layout of the club. The club wasn't just a place for table tennis; it was a hub for gambling and social interaction, a place where young players honed their skills and earned money.

Nostalgia in the details: a childhood influence

Fisk’s approach wasn’t solely reliant on historical research. He tapped into personal memories, recalling a childhood experience in a small Illinois town. A shoe store with a foot-measuring machine sparked an idea that informed the design of 1950s stores in the film. Norkin’s Shoes, where Marty works, is crammed with 8,000 period boxes, painstakingly color-checked and labeled. This detail adds a layer of authenticity that resonates with viewers, transporting them back to a bygone era.

From horror to hustle: bathtub scene mastery

Fisk is renowned for his expertise in visual effects, famously crafting the iconic pig’s blood scene in Carrie. In Marty Supreme, he tackled a similarly complex scene – the bathtub plunge at the Halsey on 28th. This involved building the hotel interior on a soundstage to ensure safety and allow for multiple takes. The scene featured a real dog and a puppet dog, with Timothée Chalamet bravely taking the plunge.

Building the backstreets: tenement authenticity

Rather than recreating actual 1950s tenements, Fisk opted to build them from scratch on a soundstage. He explained that preserving authentic tenements would be impractical due to modern renovations and lighting constraints. By constructing the tenements, Fisk and his team had complete control over the design and atmosphere. The sets were meticulously wallpapered and furnished, creating a believable urban environment.

A menagerie on set: bringing the pet store to life

Rachel’s pet store, a bustling hub of activity, was populated with over 100 animals, including hamsters, birds, and armadillos. The team rented a small shop in the Lower East Side and transformed it into a vibrant, working pet store. They filled the space with cages, shelves, and a menagerie of creatures, creating a chaotic yet believable atmosphere. The crew even temporarily closed two blocks to capture the energy of the bustling shop.

The magic of transformation: production design's power

Fisk’s work on Marty Supreme is a testament to the power of production design to transport audiences to another time and place. He skillfully blends historical research with personal anecdotes and creative problem-solving to create a world that feels both authentic and visually compelling. It’s a delicate balancing act, but one Fisk clearly excels at. The film is a masterclass in how meticulous attention to detail can elevate a story.