Parallel and Perpendicular Lines, Transversals, Alternate Interior Angles, Alternate Exterior Angles

90s New York, it really takes you back. Clean air, less traffic, adequate housing. The Cold War was over and the city was coming back to life in so many ways. Welcome to Heart of the City, I'm John Kennedy. Love Story is inspired by the story of Carolyn Bessette and JFK Jr. And it's set in the 90s. The 90s are a long time ago, but not that long ago. But so much has changed from technology. To fashion. The architecture. Downtown or uptown. We had to go out of our way to find specific streets and areas that hadn't changed. We shot at Indochine, Odeon. All the sort of places you would find John and Carolyn. Hi, sorry I'm late, it was a work thing. We wanted to make sure you felt like you were in this New York of the 1990s where everything seemed possible. Shooting their story in the city of that first decade that I lived here, for me, that was a period of great nostalgia. I grew up in Tribeca in the 90s. So for me, it's about going back into my own personal history and remembering. Some of the salons I worked at back in the day, like where I trained, John would come in for haircuts randomly. He would just rollerblade over unannounced. Of all the gin joints. I was born and raised in New York City, so I have a real precise memory of what New York felt like then. And I think that that is what we're trying to bring visually. A little bit of brightness, a little bit of expansion and carelessness. Background and action. In terms of fashion, New York in the 90s was an incredibly shift-breaking moment. It was a reaction to the excess of the 80s. The 90s was the opposite. It was pulling back. Especially with Calvin Klein, which is much more a minimalist aesthetic. Hey, what is that that you're wearing? It's really kind of terrific. The colors that people wore was very specific to that time. You know, shades of tan and camel and cream and, of course, black. That whole world was very monochromatic and different parts of the city really influenced where we took the clothes. Whether it's downtown at the Roxy dancing or uptown at Jackie's apartment. Here I am in my shoulder pads. I love it. From a fashion standpoint, we're in an era now where people are really throwing back to all of these previous decades that we grew up with. I really gotta go. Please take me with you. I'm not sure that's such a good look. Talking out of a charity event or going home with you? John and Carolyn's apartment are from two very different worlds. In the beginning, she's in the East Village and it's cluttered with clothes and magazines and everything a young woman in the city would have during that time. It's set in contrast to John's world. We didn't really have a lot of stills of the inside of his apartment. So we kind of went with a dream come true 1990s loft in Tribeca. This is our grandiose dining room, living room area. We put beautiful finishing details in here that were very specific to who he was and very personal to him. Like a great sword that's a replica of a sword that was from George Washington and it was passed on to JFK Jr. by his father. Calvin Klein's ultra minimalist design aesthetic was a real lodestar for us in designing the whole show. It allowed for this blank canvas so that the lovers at the heart of the story really pop from the background. But I like it just right here. Just us. That's it. When you're making a minimalist set, you're really forced to focus on the space and focus on the lines and the way that the light falls on the surfaces. Some of our sets were so minimal that we ended up really decorating with light. We were able to create shapes with the architecture and have shafts of light coming through blinds or through skylights or translucency and glass brick walls. So we need to imply that there's a lot more going on. So by having this wall of glass brick, we can have extras walking behind and it creates the illusion that there's just like more offices beyond it. I'm here to see Carolyn Bessette. If you could just point me in her general direction. It's like a greatest hits of New York in that era. What a magical time that was to be in love in New York City. It was alive, it was dirty, it was gritty. It's a cool era to be able to recreate. Somebody stole my bike. What was it locked? I don't know. In New York City? I think that people are just really ready for this era to unfold again. People are a little nostalgic for a time before we had all this pressure of being on screen all the time. So get ready to do some chunky highlights. Get your black cashmere turtlenecks and get ready to go. And I think we all were able to bring an essence of energy that was here in the city back then. We all need something that's aspirational, where people are wearing great clothes, where the city is shining, and where people are coming together. It's a story about possibilities.