Paper City February 2013

February 2013

A Different Kind of Drama at Museum Tower

Screenplay rewrites occur for a variety of reasons, from cast changes to confl icting visions between writer and director. Furniture, to our knowledge, has never been one of those reasons — until production began for the current season of Dallas. A dazzling acrylic bed by Allan Knight & Associates inspired rewrites “to put more scenes in the bedroom,” says Knight. That would be the bedroom of the fictional Pamela Barnes in the very real Museum Tower. Filming occurs in thatfamously glass-clad building, in part because the view includes a nearby skyscraper cast as the headquarters of Ewing Energy. “Pamela is very powerful, wealthy, ruthless, and the set speaks to that type of character,” says Dallas director Richard Berg. “We wanted something so cutting-edge modern that it became intimidating.” In scouting locations last fall, Berg found the aesthetic he wanted in the fiercely glamorous model unit at Museum Tower, created by local designer Marco French. A call to French led to a tour of Knight’s showroom, the source of the model apartment’s edgy furniture, lighting and accessories. “My jaw dropped,” Berg recalls. “It was an astounding collection, in particular his acrylic pieces,” for which Knight isjustifiably renowned.

The result: Everything in Barnes’ home — including that rewrite-worthy acrylic bed — is by Knight himself or a line he represents, a rare if not unprecedented partnership between Hollywood and a to-the-trade showroom. “Richard showed me plans and images,” says Knight, ”and he told me it needed to be done in less than a week. We have 40,000 square feet of
furnished rooms, so we just pulled the best of the best off the floor and installed it.”

The payoff is more than publicity, says Knight: “This is very different from Southfork. This was achance to be part of something new in Dallas, to change some perceptions about the city.”

by Karen Muncy