Jack Fisk Discusses Production Design for Josh Safdie’s 'Marty Supreme'

Production designer Jack Fisk, known for his work on films such as "Mulholland Drive" and "There Will Be Blood," has detailed the set creation for Josh Safdie’s upcoming film, "Marty Supreme." The film stars Timothée Chalamet as Marty Mauser and focuses on depicting 1950s New York, alongside other international settings. Fisk, 80, is a three-time Oscar nominee whose approach to the project emphasized historical accuracy and extensive research to support the film's narrative and actors' performances.

Collaboration and Design Philosophy

Jack Fisk collaborated with director Josh Safdie on the visual aesthetics of "Marty Supreme." Safdie reportedly prioritized historical accuracy, demonstrating knowledge of New York's history and specific details, such as the dimensions of 1950s ping pong balls. Fisk noted his positive experience working with a new generation of filmmakers, contrasting it with earlier periods in his career spent with directors like Terrence Malick, Brian De Palma, and Martin Scorsese.

Timothée Chalamet was also involved in the production design process, reviewing research materials, drawings, and models, and visiting locations. Fisk stated that his approach to set design involves creating authentic representations to assist actors in character development, which are then adapted for cinematic requirements. He characterized his method for many films as akin to documentary filmmaking, relying on extensive research as a foundational step.

Filming Locations and Set Construction

"Marty Supreme" utilized various settings to recreate its 1950s backdrop. Locations included the Lower East Side of New York and a two-week period of preparation and filming in Japan. Other sites in New York included the Plaza Hotel and the Indonesian Embassy, which were used to represent luxury London hotels. The Woolworth mansion on East 80th Street served as residences for characters portrayed by Gwyneth Paltrow and Kevin O'Leary. International table tennis tournaments were simulated at Meadowlands Arena in New Jersey.

A central setting was Lawrence’s Broadway Table Tennis Club, identified by Fisk after reading Marty Reisman’s book “The Money Player,” which influenced the film’s narrative. As the original building no longer exists, Fisk located vintage city photographs and obtained blueprints from executive producer Sara Rossein. Rossein also provided a magazine article featuring black-and-white photos of the venue. The art department incorporated hand-painted landscape murals from the space’s prior use as an indoor miniature golf course, though these are minimally visible in the final film.

To recreate 1950s Orchard Street, Fisk drew on his personal experience living in New York in the early 1960s. The crew also studied Ken Jacobs’ short film “Orchard Street,” which depicts the streetscape in color. Filming took place on Orchard Street, necessitating modifications to address modern building facades, street signs, and contemporary graffiti.

Set designers constructed modular tenement fronts to conceal modern ground-level building exteriors. Decorator Adam Willis added period-appropriate elements such as awnings, display tables, and storefront windows that extended into the street. Graphic artists created signs, which scenic artists then aged, to obscure modern signage. The interior of the Northridge shoe store, selected for filming, required rebuilding due to its original unsafe condition, while other tenement interiors were constructed on a stage. Fisk emphasized the use of 1950s color palettes for interiors to convey the period's atmosphere, noting a historical prevalence of rich colors over white.

For a pivotal championship scene in Japan, Fisk collaborated with the Japanese art department for a month prior to filming, exchanging drawings and photographs, with graphics largely prepared in advance. The production team designed the tournament stage. After scouting locations, a concert shell in a park outside Tokyo was identified as suitable for the period and international setting. The crew constructed bamboo towers adorned with Japanese graphics, drawing inspiration from photographs of a World Tournament in Tokyo from a slightly later period. A specific 1950s-style Japanese ping pong table was acquired based on Fisk's specifications. Safdie expressed satisfaction with the scene’s execution, and Fisk noted the efficiency and cooperation of the Japanese art department.