were shown to the actors, allowing them to see how their animated selves would move. Live-action Principal photography began in April 2006 and ended in July. Because of the sequence setting, the live action scenes were filmed in New York City. However, shooting in New York became problematic as it was in a "constant state of new stores, scaffolding and renovation". The first scene in New York, which features Giselle emerging from a manhole in the middle of Times Square, was filmed on location in the center of the square. Because of the difficulties in controlling the crowd while filming in Times Square, general pedestrians were featured in the scene with hired extras placed in the immediate foreground. Similarly, a crowd gathered to watch as James Marsden and Timothy Spall filmed their scenes in Times Square. However, the scene Lima found the most challenging to shoot was the musical number, "That's How You Know", in Central Park. The five-minute scene took 17 days to finish due to the changing weather, which allowed only seven sunny days for the scene to be filmed. The filming was also hampered at times by Patrick Dempsey's fans. The scene was choreographed by John O'Connell, who had worked on Moulin Rouge! beforehand, and included 300 extras and 150 dancers. Many scenes were filmed at Steiner Studios, which provided the three large stages that Enchanted needed at the same facility. Other outdoor locations included the Brooklyn Bridge and The Paterno, an apartment building with a curved, heavily embellished, ivory-colored façade located on the corner of Riverside Drive and 116th Street, which is the residence of the film's characters Robert and Morgan. Costume design All the costumes in the film were designed by Mona May, who had previously worked on Clueless (1995), The Wedding Singer (1998), and The Haunted Mansion (2003). To create the costumes, May spent one year in pre-production working with animators and her costume department of twenty people, while she contracted with five outside costume shops in Los Angeles and New York City. She became involved in the project during the time when the animators were designing the faces and bodies of the characters as they had to "translate the costumes from two-dimensional drawings to live-action human proportion". Her goal was to keep the designs "Disneyesque to the core but bring a little bit of fashion in there and humor and make it something