We were in the Plaka at 6 a.m., which was a lifelong dream of mine-to get to film in this historic shopping area. We go directly to an island, and while we are on the island, we go shopping in the big city. The family journey in the movie is that we leave Chicago, get to Athens, and we do not stay in Athens. And then if you look up, you realize, “Ah, I am looking at neoclassical architecture.” It's like textiles, leather bags, shoes, soaps made out of olive oil and donkey milk, which God only knows what that is. We found neoclassical architecture in Athens, in the Plaka, which is the main shopping area of Athens. The message I'm trying to say is, worldwide migration is happening due to wars and famine and the loss of choices, so what I wanted to show was the beauty that they were surrounded by. He had an idyllic, beautiful village he grew up in, in Greece, but no food. My dad immigrated because, and I put this line in the movie, he had everything. They go because they are left with no choice, as was the case with my dad. My overarching theme of the film is that immigrants and migrants, most often, do not go by choice. I wanted to show neoclassical architecture. Will you give me an overview of what other places appear in the movie? Then there was the incredible feat of finding a house in a wealthy suburb of Athens that we could transform into the interior of the Portokalos family home. And so, he was able to transform Athens airport into O'Hare. Grant would do this thing, when we walked through any place-squint his eyes and turn his head sideways and go, “Guys, take a look at this.” And it was always just some vision he had where he'd say, “This looks like Gate 12 at O'Hare.” That's how production designers are! Where normally, we are taking in feelings and sounds and ideas and travel and emotions, production designers see. What we did is, Grant, Matt, Barry, and I transformed the Athens airport into Chicago O'Hare. Filming, which took place last summer, was based in Athens and Corfu, with scenes in Santorini and some coastline shots of Crete, Paros, and Hydra. “As I said to Barry, I'm trying to cram all the Greece I love into a camera,” she says of working with the movie’s cinematographer Barry Peterson. If the budgetary stuff is unromantic, it cleared the way for Vardalos to film the country with the “magical realism” she’d always dreamt of. “Greece got a tax credit, and that is magic. “Something miraculous happened,” says the film’s writer, director, executive producer, and star Nia Vardalos. It’s a delightful development for the franchise, but it only came about via mundane logistics. In the third movie, they head to Greece for a family reunion in the hometown of their beloved, recently passed patriarch. It only took three installments over two decades, but the Portokalos family of the My Big Fat Greek Wedding film series is finally headed to the motherland.
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