By Joanna Weiss
Globe Staff / March 16, 2008
Many times in HBO's new miniseries "John Adams," the nation's second-president-to-be and his wife, Abigail - played by Paul Giamatti and Laura Linney - walk through and around their modest Braintree farmhouse. The site still exists, now enshrined in a national park on Boston's South Shore.
But the interiors were painstakingly re-created and shot on a soundstage near Richmond, built on the site of an old bowling pin factory. The exteriors, and some of the first-floor rooms, were rebuilt on a Virginia prison farm. And a scene where Adams meets General George Washington in Harvard Yard? Filmed on a hospital grounds in Colonial Williamsburg.
In fact, while Boston and its environs figure heavily in the seven-part saga, debuting tonight, none of the $100 million production was filmed in Boston - a decision owing to money, politics and, ironically, authenticity.
"Even if we'd been in Boston," said Tom Hooper, the series' director, "the Boston we'd created doesn't exist. So we'd have had to build a huge set."
Such are the challenges of a period piece, especially one produced with the attention to detail that marks HBO's series, based on the Pulitzer Prize-winning biography by David McCullough. Hooper and screenwriter/co-executive producer Kirk Ellis said they took pains to re-create the formal language of the time, the British-tinged accents, even the unkempt wigs - which, as Hooper points out, were worn like hats in their day. (Men shaved their heads, he said, because they didn't wash their hair.)
McCullough recalled that when his son served as an extra in the Boston Massacre trial scene, even his shoes - unseen on camera - were authentic. And he said the Virginia setting meant no offense to Boston: The state was also stand-in for Colonial Philadelphia, and the scenes set in 18-century Paris were actually filmed in Hungary.
"There's almost too much to contend with," he says, of the prospect of filming on location in Boston. "Wires and lampposts and streetlights and cars and noise interference, jets flying over, all that."
Still, early on, the series' location scouts considered Boston as a site to film exteriors and house a back lot. "It was particularly difficult to lose that one," said Robin Dawson, then the head of the Massachusetts Film Office, who recalls walking producers through historic sites and trying to broker a last-minute deal that would have allowed Boston University to help build, and then own, a historically accurate set. (At the time, Dawson's was one of two dueling film offices, each claiming to be legitimate. The trade magazine Variety wrote about the dispute under the headline "Mass Pix Confusion.")
Using authentic locations is possible, said Dawson, who said producers lined the streets of Deerfield with dirt to approximate the past when making 1994's "Little Women." In the case of "John Adams," she said, the producers' decision came down to money. At the time, Massachusetts had no filmmakers' tax-incentive law to compete with other states. Virginia, by contrast, offered the production $500,000 in cash to counter other states' tax incentive programs, and offered the use of Colonial Williamsburg for free.
"It's a matter of financing," agreed Ellis, the series' screenwriter and executive producer. "It's a matter of incentives. It's a matter of who's got the strongest and most aggressive film commission."
Since the miniseries was filmed, Massachusetts law has changed: Last summer, Governor Deval Patrick signed a law that offers a 25-percent tax credit for film production done in-state. That law has made a difference - as has a weakened US dollar that makes Canada, once a filmmaking mecca, less attractive to US producers, said Nick Paleologos, executive director of the now-official Massachusetts Film Office. Seven productions are slated to be filmed here between now and July 4, he said, though none are period pieces. Dawson, who is producing an upcoming film about Paul Revere, said she hopes it will be filmed on location here.
But if the Massachusetts law came too late for "John Adams," the city still played a role in the filming process. Designers took measurements of the various Adams houses so they could re-create interiors with accuracy, said Gemma Jackson, the production designer, whose credits include the 2004 film "Finding Neverland."
To build a three-dimensional version of early Boston on a 16-acre Virginia back lot, Jackson said, designers lined streets with real cobblestones, real dirt, and real horse manure. ("I said, 'That's the only stuff that's going to look right,' " she said.) When they re-created Peacefield, Adams's Braintree estate, in Hungary, designers shipped in flowers and plants grown specially in the Netherlands, to match species that grew in New England during the proper time and season.
And though Jackson said she was originally "very keen to do [the filming] in Boston," she concluded that it was far easier to re-create a world than to negotiate cameras in real historic buildings, or close off real streets for long periods of time.
"We didn't shoot nearly as much in Colonial Williamsburg as we originally thought that we were going to," she said. "You have to close everything down, which is such a pain to the rest of the world."
As the sets were being built, Hooper, the director, came to Boston as part of a whirlwind tour of cities featured in the series. The British native walked the Freedom Trail, visited the Old State House, and realized how much of the landscape has been filled: In Adams's day, the building was adjacent to the water.
"The whole city was oriented on this one straight path from square to sea," Hooper said. That landscape, he said, underscored the importance of the sea trade in Colonial times. "You have more feeling about why Boston was the first to hurt and the first to complain about the taxes being levied by the British."
Eager to capture that feeling on film, Hooper said he told production designers that he had "bad news." He wanted to break off a portion of their set so that the buildings could look closer to the water.
On other points of accuracy, he took a few liberties. The distance from the Adams homestead to Penn's Hill - the high point from where Abigail and John Quincy Adams could see the Battle of Bunker Hill - was shrunk, Hooper said, "so it wouldn't take characters forever to run up a hill."
And in some cases, technology was used to re-create the past. In one early scene, a view of Boston in the snow is actually an elaborate painting, he said. And when scenes set on Boston's Long Wharf were filmed in the rural Virginia hills, computer effects were used to create a seascape.
Still, Hooper said he's glad he toured the local sites, which also lent insight into Adams's personality and his legacy. When he visited the Adams homestead, he said, he was surprised to find that it was well-preserved, but "sandwiched between a Dunkin' Donuts and a car park and a couple of low-rise office buildings."
That's a far cry from the site of Monticello, Thomas Jefferson's Virginia plantation, which remains on a long, winding drive surrounded by pristine land, Hooper said. Adams, with his history of vanity and depression, would have taken issue with that.
"I felt that if Adams were there with me . . . he'd rant about the Dunkin' Donuts," Hooper said. "He'd say, 'Jefferson doesn't have a Dunkin' Donuts.' "