page_title: Changeling (film)
section_title: Locations and design
hierarchical_section_title: Changeling (film) / Production / Filming / Locations and design
caption_attribution_description: English: Copied from en:Image:IMG 4841.JPG: "Pacific Electric 1299 "Business Car"." 日本語: en:Image:IMG 4841.JPGより転載。パシフィック電鉄1299号車「"Business Car"」
context_page_description: Changeling is a 2008 American mystery crime drama film directed, produced, and scored by Clint Eastwood and written by J. Michael Straczynski, that explores child endangerment, female disempowerment, political corruption, mistreatment of mental health patients, and the repercussions of violence. The script was based on real-life events, specifically the 1928 Wineville Chicken Coop Murders in Mira Loma, California. The film stars Angelina Jolie as a woman united with a boy who she realizes is not her missing son. When she tries to demonstrate this to the police and city authorities, she is vilified as delusional, labeled as an unfit mother, and confined to a psychiatric ward.
  Working in 1983 as a special correspondent for the now defunct TV-Cable Week magazine, Straczynski first encountered the story of Christine Collins and her son from a Los Angeles City Hall contact. Over the ensuing years he kept researching the story, but never felt he was ready to tackle it. Out of television writing for several years and practically blacklisted in the industry because he was considered difficult to work with, he returned to researching and then finally writing the story in 2006.
context_section_description: James J. Murakami supervised the production design. Location scouting revealed that many of the older buildings in Los Angeles had been torn down, including the entire neighborhood where Collins lived. Suburban areas in San Dimas, San Bernardino and Pasadena doubled for 1920s Los Angeles instead. The Old Town district of San Dimas stood in for Collins' neighborhood and some adjacent locales. Murakami said Old Town was chosen because very little had changed since the 1920s. It was used for interiors and exteriors; the crew decorated the area with a subdued color palette to evoke feelings of comfort. For some exterior shots they renovated derelict properties in neighborhoods of Los Angeles that still possessed 1920s architecture. The crew staged the third floor of the Park Plaza Hotel in Los Angeles into a replica of the 1920s Los Angeles City Council chambers.
  The 1918 Santa Fe Depot in San Bernardino doubled for the site of Collins' reunion with "Walter". The production filmed scenes set at San Quentin in the community. A small farm on the outskirts of Lancaster, California, stood in for the Wineville chicken ranch. The crew recreated the entire ranch, referencing archive newspaper photographs and visits to the original ranch to get a feel for the topography and layout. Steve Lech, president of the Riverside Historical Society, was employed as a consultant and accompanied the crew on its visits.
  The production sourced around 150 vintage motor cars, dating from 1918 to 1928, from collectors throughout Southern California. In some cases the cars were in too good a condition, so the crew modified them to make the cars appear like they were in everyday use; they sprayed dust and water onto the bodywork, and to "age" some of the cars they applied a coating that simulated rust and scratches. The visual effects team retouched shots of Los Angeles City Hall—on which construction was completed in 1928—to remove weathering and newer surrounding architecture. Costume designer Deborah Hopper researched old Sears department store catalogs, back issues of Life magazine, and high-school yearbooks to ensure the costumes were historically accurate. Hopper sourced 1920s clothing for up to 1,000 people; this was difficult because the fabrics of the period were not resilient. She found sharp wool suits for the police officers. The style for women of all classes was to dress to create a boyish silhouette, using dropped waist dresses, cloche hats that complemented bob cut hairstyles, fur-trimmed coats and knitted gloves. Jolie said the costumes her Collins character wore formed an integral part of her approach to the character. Hopper consulted historians and researched archive footage of Collins to replicate her look. Hopper dressed Jolie in austere grays and browns with knitted gloves, wool serge skirts accompanying cotton blouses, Mary Jane shoes, crocheted corsages and Art Deco jewelry. In the 1930s sequences at the end of the film, Jolie's costumes become more shapely and feminine, with a decorative stitching around the waistline that was popular to the era.
caption: The production used two functioning replica Pacific Electric Railway streetcars for some scenes.[42] The visual effects team added further streetcars to background shots.[24]
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