Name: 走進《艾蜜莉在巴黎》幕後片場：從零開始打造超大場景！巴黎辦公室、帥主廚餐廳到跟閨蜜Mindy的溫馨小公寓｜打開名人豪宅｜Vogue Taiwan
Uploaded: 2024-09-19T03:18:29.000Z
Duration: 10 min 59 s
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Hi, AD, Lily Collins here and welcome to the set of Emily in Paris.

Adverbs of manner

So here we find ourselves in Agence Groteau, formerly known as Savoir, which is a very important and special set for me because it's where Emily really found her footing and groundedness in Paris. I mean, let's not lie, a lot of adventure happens in these rooms.

I'm going out to lunch, a long lunch with wine.

I was so amazed at how big this set was the first time I ever saw it. I didn't realize that each of us would get our own office and that it would be so spread out and it would look so livable. We joked that we would put mattresses in here and actually sleep here because the crown molding, the colors, it's so calm, the floor, everything about it felt as though they'd just taken a Parisian apartment and put it into an office workspace. So my mind was blown. They're chandeliers. I mean, they really went above and beyond on this set.

In terms of the agency, you know, I really talked a lot about finding this Hausmanian building. You know, Hausman did all this fantastic architecture all through Paris and I love his buildings.

When we found the exterior of the agency, which is Place Valois in Paris, my aim was to mix and match the exterior with the interior. So we survey all the windows and we adjust the whole set inside according to the space and the backing. What you see here is the real backing, Place Valois, inside a real place, never existed.

Here we like to call it the bullpen. Luc sits over there, Julien sits over there, and if we make our way in this direction, we have my office. It looks pretty much the same from season one. There's usually a few little knickknacks that change on the desk because obviously one would acquire more things. But for Emily Cooper, I like to think it's pretty darn clean most of the time.

And what I find to be really cool, it's all in the details. We have Agence Grotteaux cards.

We have papers with our names on it. We have envelopes. They literally make a deck for each brand that we're pitching, if they're real or fabricated, just in case one of us chooses to open it in a scene and use it as a prop. Like I said, attention to detail is so impressive on this.

Season four, Alfie, for the first time it comes to the agency, which to me is one of my favorite sets on the show. I come into the scene at the agency to take on a new deal and I'm not too impressed by the ideas that Emily's brought to the table. But obviously she comes through and delivers.

We have the conference room, which is sometimes the bane of our existence because we usually have so many cast members and there's so many angles that we're shooting. We're usually in there for a couple of hours. And it's where I had my first pitch meeting where I was pitching myself as Emily Cooper coming to Savoir, which was a very monumental scene for me.

I'm Emily Cooper and I'm so excited to be here in Paris.

These are technically awards that our company has won for best marketing, which I just realized are fabricated for our show. Apparently Agence Groteau is doing a good job.

And if you keep following me this way, we have a fully functioning kitchen over here and the door to my boss's office, Sylvie. Now she'd probably kill me for taking you in here, but I'm going to do it anyway, so come on in.

It's customary to knock, wait for a reply, then enter.

This office is where I have done many pitches to Sylvie. It's where she's yelled at me, told me I'm not doing a good job, told me I'm doing a better job, where I fought with my coworkers. But this is where she sits and usually it's not my view. So I feel like today

I'm, I don't know, I have the upper hand a little bit. But this office is also very calming to me. I love the colors, I love the aesthetic. I think it's really interesting what Anne has done with this office when it went from Savoir to Agence Groteau and how she changed it.

I wanted different rooms to be really separate, to give a depth of field. And for Emily, she's like very girly, so the color is slightly pink, but you don't really see it. And from that I went to Sylvie, which is a bit colder, because she's colder. The conference room was a challenge. The blue, it gives a very big contrast with the other open space. That's something I really like to do, is working on colors.

That set was, at the beginning of the first season, a real set. We use a restaurant on the Place de l'Estrapade, and we use the inside as well. And then the next year, we decided to make it bigger inside.

And Siobel made sure that we could have a fully functional kitchen, so we could have a Michelin star chef that actually created an entire menu just for the restaurant. The plates actually exist, but only in the story. So whenever we're done shooting, I just eat the plates.

So we had red color matching the outside. And then when Israël's mother, Gigi, came in the script, we decided to change a bit the look of it. So we changed the tablecloths, we moved the chairs, we made the round table instead of just a banquette. And the colors changed slightly. Diane wanted something a bit more subtle, more earthy, more Normandy.

And maybe now it will evolve again. We don't know what happened to Gabriel.

We're about to start shooting again. And whenever I'm starting a scene inside the restaurant and I'm like storming out the restaurant, we cut. And two weeks later, I shoot it in the actual Place de l'Estrapade. It's a bit weird in terms of continuity, but yeah, it's the magic, I guess.

And finally, we are in my fabulous apartment, which appears a little larger on camera. It's a confined space.

Emily's apartment was inspired by the Champs-Élysées, the mage rooms that were on the very top floors of Parisian buildings that still exist. They have great views. They have pitched ceilings.

Oh my God, I feel like Nicole Kidman in Moulin Rouge.

The stairs from the first season to the second season, we had to build it because the people who ran the stairs in the real location decided to paint it and renovate it. So we had no more continuity with our show. So we decided to build it. So you have the stairs that we built on stage from scratch to be able to have it on the second season the same.

As an example of Easter eggs, in Gabrielle's apartment, we decided to make an homage to

Darren Star, the showrunner. And there is a poster where Darren is a jazz musician.

It's in the bedroom of Gabrielle. And I don't think anyone noticed that this name is big on the wall.

After we'd been filming there a while, I sort of looked at it. I was like, wait a second, there's my name on that picture.

Little things have changed here and there because they would, seeing as though Mindy and Emily have acquired more memories and adventures. And this is actually really fun.

I noticed this when we came this year, that they had put our Polaroids up on this pole.

We were just becoming close friends and it was so fun to just explore Paris together in a way that neither of us ever had. So I love these little memories. There's a few other ones scattered around, but these are perfect placement.

Also behind me, the fashion wardrobe, which, you know, it's a little small. I like to think that downstairs, maybe we have like a storage facility or maybe some of the floorboards open up and there's like all of our stuff jammed in there. There are some of my running looks. There's outfits like this was at Versailles. This was in Provence. And so it's nice to see that we get to incorporate our actual outfits. Same with the shoes, of course. It's nice to have little props from each season so that it really feels like a home. Tiny bed. It is a tiny bed. It only took us until this season to realize that the couch actually pulls out into a bed, because we've never really shot there as a bed before. We always just assumed that we both shared the bed. And I walked into set one day and Ashley and

I were like, why is there a bed here? And they said, well, obviously one of you sleeps on the couch and our minds were pretty blown.

I think the experience shooting in Amy's apartment is always, always intimate. Even if the scene's not meant to be intimate, it's intimate. We've got all the crews in there and everyone's kind of running around. And until they say action, you're always going to be in someone's way. It's just kind of like make yourself as small as possible. And then when it's time to go get in there, get the job done and try and get out unscathed.

Honestly, I haven't really used this kitchen that much. I think Ashley's probably used it more than I have, but I have used it enough to tell you that it's a working kitchen. The faucet works, same as the bathroom. At the beginning of season three, when I was in the bathroom freaking out to myself in the mirror and I cut my bangs, I feel like that was a real moment for Emily. A really nice way of making the bathroom memorable. And I'll never forget shooting that. We only had one bang piece. We had to cut it right the first time, but it was fun.

All the locations are in Paris. Everything is here. I've always been amazed at the number of real locations we've been able to film at. We filmed this fashion show in Versailles, the Hall of Mirrors. We filmed at the top of the Eiffel Tower. We filmed at the Musée d'Art Decoratif. We filmed in the Musée d'Orsay.

I think that's one thing Emily and Paris does really well. We have the key to the city and they make the most out of it. Building these sets as well, it's a spectacle every time you come to set. It's a joy.

Some really fun adventures that we've had this season with different outdoor venues.

A fall-winter season means new wardrobe, new looks, new colors, lots of new hair and makeup.

I think we hit our record for looks this season, so I'm very excited.

To me, the show is about transporting the audience somewhere, and I think this season we do this in a bigger way than we ever have before.

It has been so nice having you guys visit our sets, but sadly I have to go back to work now.