Original subtitles

Through reading all the books and seeing so many pictures...

...from that time period, the most influential people and wealthiest people...

...had some form of facial hair. It's a very cool look.

You know, I get yelled "Wolverine" all the time.

Old bikers come up to me with compliments, "Hey, nice chops, kid."

You're thinking Ethel Every ain't our killer.

In the episode, I had to eat pigs' feet.

The props guy, Jim, had given me very nice cheese and bread and these pigs' feet.

At the end of the day, he's like, "ll heard you ate 10 pigs' feet. Why would you do that?

There's cheese and bread there."

And I said, "Dude, it's the Five Points, man. I'm not gonna let the audience see me...

...eating bread and cheese when I've got these pigs' feet there.

That would've been the most expensive and best part of my meal back then."

Andrew O'Brien in 1864, I mean, he was a pigs' feet man.

I'm John Blacking, production designer with Copper.

I love doing period pictures because the challenges are just that much greater.

The strength and the grandness of these sets are totally because of the people that built them.

This is an excellent building to describe constructing and getting a building set.

John Blacking will design the building, we have a crew that will draft it...

...and do blueprints for it.

At that point, we send it to the construction shop, they build it.

The Scenic Department then gets their hands on it, do paint job and all the aging.

Finally, we have our Graphics crew that designs the signs.

They get installed by set dressers, then we have the set decorating team that goes in...

...and does all the final layer of dressing on top of the set.

We used three-dimensional modeling in the design...

...So that we could actually get down in and see the building.

So if you go back and look at our drawings, you can almost overlay them...

...exactly to the way they look on set now.

We knew that we were going to have some kind of action in a bank.

Part of our issue in designing this was trying to keep the New York-style feel alive...

...because it's a period where everything can look like a Western...

...and it's not a Western. So we wanted to try and have some of these strong sandstone...

...brownstone buildings.

So right now, we're standing in front of Eva's Paradise.

She's one of our main characters.

We needed this to be sort of the hub of activity of the Five Points...

...So we decided the best thing would be the saloon and brothel all combined into one.

This is Paradise Square where the gangs would meet, conduct their political campaigns.

If you think Lincoln cares about our city any more than he does that town in Vermont...

...1 got a bar of soap to sell you.

It really becomes the town square.

I think the cobblestone's my favorite part. To build the cobblestone streets...

...we laid down a bed of gravel, and then stacked bricks on top.

We had special bricks made that have little divots on top of them...

...So that when we wet down the streets, they become wet in tiny little pockets...

...not in big ponds of water. The cobblestone takes you to that period...

...faster than almost anything.

If you can count the number of bricks in Five Points, you win a prize.

What we've built here is Five Points and it looks very real.

Incredible craftsmanship has gone into it.

The set for this show is extraordinary because it really allows the actors...

...to feel like they're in a real place, as opposed to on a set.