:32:05
The New York skyline was a huge,
curving painting...
:32:07
that covered two-thirds
of the soundstage.
:32:10
It could be lit for either daylight
or nighttime effects.
:32:21
The electrical power required
to light this set was enormous.
:32:24
Whenever the lights went on...
:32:26
filming in other parts
of the studio lot had to be shut down.
:32:28
It was one of the largest sets
ever built.
:32:51
Ms. Jovan started the flip
in the close-up...
:32:55
but a stunt double completed the flip
in postproduction.
:33:41
The seismic disturbance
was accomplished quite simply...
:33:44
with sound effects
and bits of rubble...
:33:47
released from above
by concealed stagehands.