www.latimes.com

Aldis Hodge and Leslie Odom Jr. in the 1964 hotel setting of “One Night in Miami.” The space is meant to take on many characteristics throughout the film. Movies transport us, moving us through extraordinary locations, cities, streets, even inside creatively crafted homes and vehicles. But some films hold still, keeping their story largely inside a single location. And when that happens, this “hero” set has to carry a big load by explaining character and grounding the story. The Envelope spoke with three production designers about shouldering that responsibility in “One Night in Miami,” “Sound of Metal” and “The Father” — and got to know the most important nonspeaking character in each film. ‘One Night in Miami’ Our hero: A suite in 1964 Miami’s Hampton House Room with a view: “We hope that our hotel room is constantly evolving throughout the film, that it feels like a sun-filled house of worship in one scene, a musician’s inspiration in another, a friendly setting for a whiskey and ice cream after-party, or a sober heartbreaking vessel of truth in another,” says producer Jess Wu Calder. Practical matters: The actual Hampton House is now a historic site, but that doesn’t mean the hotel suite in the film is an exact replica, explains production designer Barry Robison. The set had to be roomy for both characters and cameras and flexible to get the shots director Regina King needed. A wooden screen room divider that could be removed as necessary for camera angles “allows […]