When was good deeds filmed

Top review. Tyler Perry's Good Deeds was a nice surprise concerning his usual output of movies. This one was better than expected since he doesn't play that stereotypical mammy-type character that I just mentioned nor does he put any obvious comedy scenes that makes one groan like in that first movie I just wrote about.

In fact, the only character I thought was truly one-dimensional was that of his no-good-brother played by Brian White who has no business being part of their father's company but because he's family Anyway, Perry plays perhaps the most caring of businessmen one would expect to be depicted in modern cinema as he discovers a female janitor played by Thandie Newton who's on welfare because of some personal troubles.

Oh, and Perry's engaged to Gabrielle Union and has a mother played by Phylicia Rashad who's a little uptight though she also knows where she's been. In summation, Good Deeds was a nice surprise for me concerning Mr. Perry's output and on that note, I recommend it. Details Edit.

Release date February 24, United States. United States. Official Facebook Official site. Tyler Perry's Good Deeds. Tyler Perry Studios Lionsgate. Box office Edit. Technical specs Edit. Runtime 1 hour 50 minutes. Related news. Sep 10 WeAreMovieGeeks. Contribute to this page Suggest an edit or add missing content. Top Gap. By what name was Good Deeds officially released in Canada in English?

See more gaps Learn more about contributing. Edit page. Hollywood Icons, Then and Now. See the gallery. Thandie Newton Lindsey Wakefield. Jamie Kennedy Mark Freeze. Rebecca Romijn Gabrielle Union Eddie Cibrian Brian J. Walter Deeds. Jordenn Thompson Phylicia Rashad A look at the Good Deeds behind-the-scenes crew and production team. Tyler Perry. I jazzed that up with a number of Knoll accent chairs we rented from an office furniture showroom. Art Department Coordinator Brenda Findley actually got Herman Miller to give us 3 new task chairs as product placement, a first for a Tyler Perry movie.

Believe it or not, we rented quite a few accent tables, floor lamps, and chairs from Cort Furniture! They have some great pieces if you look closely. We rented a credenza for Deeds' office from Room and Board that I loved so much; I had a matching desk built. As is often the case with Tyler Perry, we could not find a desk that was high-end enough for him that we could also afford, so we custom built one. If you think about it, decorating a set for a billionaire character that was created by a real-life billionaire can be rather daunting!

These are mid-budget movies, so it's not like we have the time or money to create interiors as if they were actually for Tyler Perry, the person, but you've got to sell the illusion. That's not including table or floor lamps that came from all over.

All of the artwork here is by Anthony Liggins, a well-known young painter based in Atlanta, with gallery representation all over the world. His stuff had the right mix of edginess, color and sex to still be believable in a corporate setting. And he let us take whatever we wanted. Silks can look so bad on film and these were the perfect hip blend of texture and color for this environment.

I can't say enough about them. He self-sabotages everything he does. He has a pity party every day. He doesn't know he's creating his own world, his own horror.

Probably not exactly what Mr. Mark Freeze Fashion House. Please tell us about depicting both the glamorous side of fashion and the working side of fashion. It was important to Mr. Perry that the place had a real bustling feel to it and to show the workings of a fashion house. I initially put more effort into the sitting area, as the script read that way…the ladies were there drinking champagne and watching models come out in bridal wear. The work-room was just intended as background, but when Mr.

Perry came to see the location the day before shooting, he wanted much more behind-the-scenes material, so we quickly put that together. He was right of course, and the extra dressing in the work-area looked great.

The other side…. One set can tell us so much…what do we learn about Lindsey from this set? The cramped apartment that Lindsey [Thandie Newton] and Ariel [Jordenn Thompson] live in was especially painstaking to get right. This was a small apartment in a pretty nice part of Atlanta, and we worked hard to not make it trashy or pitiful. They were going through a rough time, with her husband being killed in Iraq, but they were getting by somehow. When you read a script and characters are described as "poor", you have to define it further.

I believed it was mandatory to show them as dignified and hopeful in their struggle. How many of our fellow citizens are a paycheck away from that situation right now? The horror of getting evicted and having to live in a van isn't going to register as profoundly if we can't see ourselves in these characters. With all that's going on in our economy at present, it was an especially important point to depict in a mainstream movie. Please tell us about the furnishings and art….

Buyer Rachel Goodman threw herself into this head first, as she does with everything. She sourced the primitive-but-sweet artwork from someone in North Carolina, as well as local painter Virginia Daniel, and I chose the major furniture and lighting from her pictures. The bedroom was particularly crucial to us, since Ariel sleeps in there with her mom…it defines both of them and their relationship.

The van and the homeless shelter…please tell us about these heartbreaking sets. We brought in over 75 cots and bunk beds, all of which had to be painted.

We bought all of the bedding and other dressing. It was a lot of work for the set dressers just in all that hauling they had to do, then the set-up and eventual wrap.

And they really committed themselves on the van. I gave them the stuff and the background story and they just got totally into it. The level of detail was terrific and telling. Were you able to do most of it on the studio backlot? They were all hard, but the last few I did were especially so because the budgets and schedule stayed modest while Mr.

The subsequent projects I did there were largely location-driven, with a few big builds on stage. I personally think the TPS back-lot is underused.

Please tell us about your collaboration with Production Designer Ina Mayhew. Somehow we always end up on the same page. Not having to worry about the dressing takes a lot off a designer and allows one to focus on all the rest.