Robert De Niro’s Billion-Dollar Gamble

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As a lifelong fan of cinema and architecture, I can’t help but feel a sense of awe when I read about Robert De Niro’s latest venture into the world of film production. Having grown up in New York City myself, I can appreciate the unique charm and character that the city offers, making it an irresistible draw for both residents and visitors alike.

No disrespect to Toronto, Vancouver, downtown L.A., Sydney or all the other cost-effective shooting locations that have stood in for New York onscreen, but people can always tell. Imagine if Scorsese had filmed Taxi Driver in Burbank or if HBO had shot Sex and the City in Atlanta. There’s no substitute for Gotham’s grit and glamour.

Robert De Niro, one of New York’s most iconic movie stars who grew up in the city and founded the Tribeca Film Festival, describes it as the “greatest backlot.” This is due to its rich history depicted in numerous films that have shaped the city’s identity. He also acknowledges the exceptional talent pool in New York, whether they are actors or behind-the-scenes professionals. However, the film industry in New York faces challenges, as it lacks a centralized, well-planned studio infrastructure compared to cities like Los Angeles, London, and others with tax incentives for film production, which have large, purpose-built soundstages. Despite this, the film industry in New York generates $82 billion annually and supports 185,000 jobs.

Approximately five years ago, developer Adam Gordon, known for establishing Amazon’s initial contemporary ecommerce facilities in New York through his company Wildflower Ltd., received requests from three distinct productions to film inside his warehouses. Recognizing a growing need for soundstages in the city, this third-generation New Yorker conceived the idea to build his own studio. Due to the area’s notorious space limitations and densely packed urban environment, he had a similar epiphany that has fueled architectural advancement in New York since the first skyscrapers emerged: Rise vertically.

As a gaming enthusiast, I pondered an unconventional approach: merging soundstages. It crossed my mind that perhaps no one had attempted this before? I floated the concept past Robert De Niro, whom I bumped into through our kids’ music school. “Is this idea completely out there?” I wondered. To my surprise, not only did he find it intriguing, but he expressed interest in partnering up.

In the real estate industry, it’s more straightforward to secure a loan for a billion dollars compared to a million, according to Gordon. This statement certainly grabs people’s interest. [Gordon is a middle-aged man, lean and active, dressed casually in a black T-shirt and jeans, speaking in front of the finished building near Steinway Creek in Astoria, Queens.]

What also draws attention is the design that a billion can buy. Gordon and De Niro hired the superstar Danish architect Bjarke Ingels, known for his audacious visions, like the multicolored Lego house in Copenhagen, or Manhattan’s pyramidal housing complex Via 57 West. His cinematic Wildflower building is no less dramatic: a stunning black behemoth, tiled in angled slabs of prefabricated concrete, all framing a massive window onto what looks like the docking bay of the Death Star. 

Bjarke Ingels, known for his playful and confident demeanor reflected on his company’s website – big.dk, expresses his fascination with the opportunity to innovate. “It was incredibly intriguing,” he states, “that a three-dimensional film studio hadn’t been established before. Architecture often adheres too closely to what has already been done, but the success of Wildflower makes me believe it will pave the way for numerous similar projects.

He notes that cinema and architecture share a striking resemblance, as both disciplines necessitate large teams of individuals to realize unique ideas.

De Niro and Gordon collaborated with the Teamsters on creating a parking lot setup, enabling large trucks to pull directly up to ‘elephant vehicles’, accompanied by oversized elevators suitable for elephants, directly connecting to the 11 soundstages within the studio.

Amongst the emerging studios spreading across the five boroughs, Wildflower, spanning 765,000 square feet, stands out as the largest. Other contenders include Lionsgate’s Great Point Studios. These facilities are designed to cater to productions that wish to leverage the city’s unique charm and the state’s recently expanded tax benefits. However, for De Niro, such incentives hold no allure. The city itself, with its distinct character, is more than enough of an attraction.

According to De Niro, all the other cities are fine, but I’ve filmed in each one. The truth is, though, most folks prefer New York City, given the opportunity. And that’s especially true for those who actually reside there.

Robert De Niro, who also runs a hospitality business with ownership of Tribeca’s Greenwich Hotel and co-founding of the Nobu restaurant chain, took particular interest in the studio’s cafeteria. He made it a point for executives, actors, and crew to dine together in one room and consume the same food. Moreover, he ensured that this food met the high standards expected in New York City. During my visit, the walls of the cafeteria were empty, but they would soon be adorned with paintings by De Niro’s artist father.

Gordon shares that the initial filming for the project will commence around early December. To help visualize this, Ingels takes me on a tour of Wildflower’s expansive studios. It’s challenging to envision productions taking place here amidst the deafening quiet. However, to clarify, he uncovers a model of the studio, revealing the Millennium Falcon being filmed on an upper-level soundstage and Godzilla below – both accurately sized replicas.

Gordon envisions Ingels’ structure to offer not only practicality but also motivation for the multitudes of actors and artisans who will work within it. As he states, “Many exceptionally gifted creative individuals have spent substantial portions of their careers laboring in stark, inhumane environments.” He continues, “Van Gogh painted in Arles, did Picasso live in the South of France? That’s the essence of the creative process, isn’t it? It’s about having attractive surroundings that inspire you to create art.

I just stumbled upon an interesting tale in the September 19th issue of The Hollywood Reporter magazine. If you’d like to keep up with such engaging content, consider subscribing!

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2024-09-24 16:25