How the "Sleepless in Seattle" Houseboat Gave the Hit Rom-Com a Dose of Realism
"Nora [Ephron] was really insistent on basing the movie in Seattle—and not for any reasons she could defend," production designer Jeffrey Townsend says.
Three decades since its theatrical release on June 25, 1993, Sleepless in Seattle remains a quintessential ’90s romantic comedy. Cowritten and directed by Nora Ephron off the heels of the success of When Harry Met Sally..., the film stars Meg Ryan and Tom Hanks, two legends of the genre (who teamed back up for another Ephron hit, You’ve Got Mail, a few years later). But while When Harry Met Sally... and You’ve Got Mail have their feet firmly on the ground as classic New York movies filled with New York sights, sounds, and people, Sleepless in Seattle is a tale that revolves around opposite coasts, with the titular city at the heart of everything, and a fairly unique living situation involved to boot.
Rom-com legends Meg Ryan and Tom Hanks star as Annie Reed and Sam Baldwin (respectively) in the 1993 classic, Sleepless in Seattle, directed by Nora Ephron.
© TriStar Pictures Inc. All Rights Reserved
The story follows Annie (Ryan), a newly engaged reporter from Baltimore, and Sam (Hanks), a recently widowed architect who moves from Chicago to Seattle with his son Jonah (Ross Malinger) after his wife’s death. When Annie hears Sam reluctantly discussing his grief on a radio show, she feels a profound connection and, against her better judgment, asks him to meet her on top of the Empire State Building on Valentine’s Day. The rest is history.
Most of the film’s Seattle scenes take place at Sam and Jonah’s new place of living, a homey, wood-clad houseboat on Lake Union. In real life, floating homes are deeply embedded in Seattle’s seaport history. Tracing back to the late 1880s, sailors, fishermen, loggers, and dockworkers built low-cost floating shacks on the shores of the city’s various bays, lakes, and rivers using rafts and scrap boards. In the 1920s, some of Seattle’s wealthy population built houseboats on Lake Washington as fancy summer homes. By the late 1930s, Seattle’s houseboat population was said to be around 2,000. While the number and size of Seattle’s houseboat colonies has since dwindled, real estate brokerage Prevu estimates that communities on Lake Union and other Seattle waterfronts still have around 500 floating homes and 250 houseboats, some with coveted real estate priced in the millions.
Sleepless in Seattle production designer Jeffrey Townsend helped realize the interior sets for scenes in Sam’s houseboat. Illustration by Roger Shank.
Courtesy Jeffrey Townsend
For Jeffrey Townsend, the film’s production designer, a Seattle floating home was the perfect visual representation of Sam’s unmoored state in the start of the film as a grief-stricken widow fleeing the bustle of Chicago. (Townsend notes the houseboat was part of the original screenwriter Jeff Arch’s vision.) "The trajectory was that you have an ostensibly successful architect in Chicago—big market, big skyscrapers, big windows—whose dreams shrink from grief," Townsend says. "I don’t think Jeff Arch would be horrified for me to suggest that there’s something transient-feeling about a floating home. It’s literally on water and moves a little bit with the tide." Of course, the eccentric residence also lent the film a sense of whimsy, offering a cinematic spot for a number of shots of Sam gazing wistfully off his deck at the horizon.
The exterior shots of Sam’s home were filmed on location at an actual houseboat in the area. "We looked at so many floating homes in Seattle and finally ended up in the biggest one there," Townsend says. "I think it’s 2,000 square feet." (In 2014, a Seattle tech executive reportedly bought the Sleepless in Seattle houseboat for over $2 million.)
The interior shots, meanwhile, were filmed on sets built at a nearby naval base. This was, apparently, an unusual move, as most films are based in New York or Los Angeles for cost and convenience. "Nora was really insistent on basing the movie in Seattle—and not for any reasons she could defend," says Townsend, who reportedly butted heads with the filmmaker during the project. Still, he says, "We had a lot of fun making [the set] just a little bit nicer than the actual [houseboat] interior with some details that gave the impression that perhaps Sam had actually renovated it himself and put some of his aesthetic as an architect into the remodel."
The neutral tones and materials of Sam’s Seattle houseboat deliberately contrast with maximalist pinks and floral patterns in Annie’s Baltimore apartment.
© TriStar Pictures Inc. All Rights Reserved
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