“In addition to the overall feel of black and white, so much of it was set in the Barton Arms, where we needed to divide it,” he said. Meanwhile, director Michael Uppendahl said they already had to do a lot of additional shooting tests to make sure sets, costumes, and more elements of the colorful mise en scene would translate properly when seen in black and white. The home that we found about two hours outside of Chicago, literally in the middle of nowhere, it served a lot of needs and provided a lot of architectural elements we could tie into on the stage.” “The entry foyer, the reception area, the sort of parlor where we first meet some of the guests, that was at the location. “The dining room and the bedrooms were built on stage, as well as part of that stairwell,” production designer Warren Allan Young said.
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Guests even have to answer a series of questions during check-in to determine where - which side - they’ll be staying. The owners technically share the Barton Arms, but their vehement disagreements resulted in a piece of dividing tape running the length of the house, up three flights of stairs, and ultimately separating the space into two distinct operations. One side is controlled by Picola Crumb and the other her sister, Iola. Despite the ominous historical marker outside - which denotes how former, unsuspecting guests were murdered in their sleep - the two request a room, only to be told that the house is split in two. In his desperation, Rabbi Milligan takes Satchel to a boarding house called the Barton Arms. “The fact that was raised not by one family, but by more than one family, and ultimately the most important figure in his life was this Irishman, who was himself an unwanted member of an Italian family, and who was desperate to try to keep Satchel from what Rabbi Milligan became.” The question, in a loose kind of way, is, ‘How does Point A reach Point B?'” Hawley said. “This season was very much about raising children, and who they grow up to be - we know that young Satchel is going to grow up and be Mike Milligan, played by Bokeem Woodbine in Season 2. The deal was meant to keep the peace so both businesses could prosper, but tensions eventually start to rise, and Satchel gets whisked out of Kansas City by Rabbi Milligan (Ben Whishaw), his adopted protector who doesn’t want his adolescent charge to suffer the same fate he did. Satchel’s father, Loy Cannon (Chris Rock), exchanges his youngest son for Zero, the most junior member of the Fadda crime family. Jones III, the young boy was first introduced as part of a trade that would affect the lives of everyone involved. For theirs, it came 15 minutes into the movie, and for us, it came in the last five minutes of the episode, but that sense of transformation, if earned, is a really powerful one.”įor “Fargo,” the key transformation emphasized in “East/West” was Satchel’s. “‘Wizard of Oz,’ of course, features a transition from black-and-white to color.
“This ‘Wizard of Oz,’ ‘We’re not in Kansas anymore’ idea crept into the storytelling, so it felt like this was the place to embrace that metaphor,” Hawley said. Episode 9 isn’t just a black-and-white episode it’s a black-and-white episode that’s driven by change, both in its color palette and characters. Sure enough, their trust was rewarded in Episode 9, “East/West,” a pivotal turning point for the fourth season as well as a striking homage to film history - namely, “The Wizard of Oz.” When your story is set in Kansas, and the climax involves a tornado, you have to at least nod to the history you’re building from.
Oz season 4 episode 15 stream plus#
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