YOU ARE HERE: LAT HomeCollections

Going all out for 'White House Down'

Filmmaker Roland Emmerich built large sections of the landmark from scratch in Montreal for his popcorn picture. Good thing, since it really takes a beating.

June 21, 2013|By Steven Zeitchik, Los Angeles Times
  • On the set of the movie "White House Down."
On the set of the movie "White House Down." (Reiner Bajo / Columbia Pictures )

MONTREAL — On a warm fall day in a scruffy suburb of this Canadian city, some familiar sights appear. French-language road signs note estimated distances in kilometers. Beret-wearing soldiers stand guard. A restaurant offers a poutine special.

And then, suddenly, some less familiar ones: large sections of the White House, built to scale and scattered across several neighborhoods of the city. The elegant South Portico, fronted by a lawn big enough for a couple of military helicopters. An elegant pool, in which, at the moment, a sturdy armored car known as "The Beast" is flipped on its back. A gallery of presidential portraits in a carefully appointed room.

No, the local populace hasn't developed a sudden love affair with the topography of Washington, D.C. The buildings are sets for "White House Down," a Channing Tatum-Jamie Foxx action movie directed by Hollywood's go-to explosion maestro Roland Emmerich ("The Day After Tomorrow"). And by the looks of things, with sections of the facade scorched and shell casings everywhere, our national landmark is not doing well.

PHOTOS: Movies Sneaks 2013

In a filmmaking culture heavily reliant on computer-generated images, massive structures built from scratch would be odd. That the structures form one of the most recognizable buildings in the Western world makes it even more surreal, a Tower of Babel-like project where American political and pop-cultural landmarks are erected by a German-born director in a city proud of its French heritage.

"It's something, yes?" noted Emmerich, a ballcap pulled tight over his head as he took a break from blowing up Washington by grabbing a seat in his air-conditioned trailer. "In 'Independence Day,'" continued Emmerich, 57, referring to his alien-invasion blockbuster, "when I wanted to show the White House, I put up some blue curtains and a sign, and that was it. I didn't want to do that this time."

After all, things have changed in the 17 years since that movie came out. Audiences in this post-"Cribs" world expect access to famous residences.

Sony Pictures opens "White House Down" — in which Foxx plays a peace-seeking president and Tatum a wannabe Secret Service agent who, through a series of coincidences, ends up with the leader during a terrorist attack on the White House — on June 28, moving it up from November for our Fourth of July blow-em-up pleasure.

Although the Montreal sets (shot here for tax credit and space reasons) were built in the service of popcorn entertainment, their ambition raises larger questions: Is there room for physically constructed effects in an era when most illusions are designed on a computer monitor? And can iconic governmental symbols move an audience possibly numb to the sight of entire cities blowing up every other weekend at the multiplex (not to mention the evening news)?

Apt re-creation

Emmerich and his team went to great lengths to re-create the White House for the film, where characters fight and escape through not just the recognizable sites but also catacombs, elevator shafts and secondary kitchens.

STORY: Hollywood storms the West Wing/a>

The director and his production designer, Kirk Petruccelli ("The Incredible Hulk," "Lara Croft: Tomb Raider"), took several White House tours. They spent days poring over books, looking at where passageways lay, or when and how changes were made in the building's 222-year history. Much of the White House's Byzantine layout is out there if you look hard enough.

"I want Obama to look at this movie and say, 'How did they know all of that?'" Petruccelli said, standing in front of one set that he said took hundreds of crew members working round-the-clock for several days to build. Nearly all of the major wings and rooms were reconstructed, including almost half the complex in a giant indoor space the crew nicknamed "The Bubble."

Nor was the design limited to the buildings. To re-create the Beast — the heavily armored presidential car whose details are a tightly guarded secret — they undertook a different kind of effort. Graham Kelly, a crew member with the Emmerich-ian title of "action vehicle supervisor" tried to work sources, including a friend of a friend who worked in the White House garage.

"I'm surprised I wasn't arrested by the end," said Kelly as he stood in a structure fiddling with one of several replicas he helped design for the movie — a vehicle that will shortly be pummeled into oblivion in a heavy-duty action sequence.

In real life, the White House has endured a pretty much peaceful existence since it got out of the 19th century. But it's come under fire a lot since then in the movies. In fact, it's been shot at, assaulted, set ablaze and otherwise abused so often that Disney keeps a replica of the Oval Office on its lot that filmmakers can rent. Emmerich and producers opted against this.

Los Angeles Times Articles