premise of performing an ensemble heist on a rich Donald Trump type, and focusing instead on a group of blue-collar employees who take on a corrupt, thieving Bernard Madoff like businessman who has embezzled their pensions. Ratner enjoyed the pitch and brought it to Grazer who gave his approval. After taking the script to Stiller and bringing him into the project, Ratner had Noah Baumbach perform specific rewrites for Stiller's character. Nathanson then came aboard the project and performed the final rewrites to Griffin's screenplay in October 2010, adding "the obstacles, complexities and specificities of the characters". To help develop the script, the filmmakers and writers spoke with the resident managers of several high-profile New York hotels to learn of their experiences interacting with their clientele. This research gave Griffin the idea for Shaw's possessing a vehicle in his apartment, which Grazer and Ratner eventually decided would be a rare 1963 Ferrari 250 GT Lusso which once belonged to Steve McQueen. On his research, Nathanson said "It was informative, to say the least, to speak with the people who work in these buildings. I interviewed everyone from doormen to housekeepers to building managers. There's a whole underworld to the New York building scene that exists in the basements that most people are unaware of. They make it all possible, and you just never see it. It's fascinating." Filming Filming began in November 2010, taking place entirely in New York City on a budget of $85 million ($75 million after tax rebates). Production designer Kristi Zea visited several upscale hotels and high-rise residences to research the design elements to incorporate into the opulent surroundings of the tower and Shaw's penthouse. Zea created an amalgamation of the elements she saw during her research to create a sophisticated lobby design for the tower. For Shaw's penthouse, Zea took inspiration from a top-floor apartment in the Trump International Hotel and Tower at Central Park West in Columbus Circle. Zea populated the apartment with an assortment of art pieces to represent Shaw's status, based on specific artists and works that Ratner suggested. Zea decided to use modern-classic reproduction designs by artists such as Pablo Picasso, Francis Bacon, Cy Twombly, and Andy Warhol. Explaining her decision, Zea said "These days, it seems wealthy people want to have wall power. They want to have art on their walls that means something and shows people, just like a