From a wintry East German city street to the interior of the U.S. Supreme Court, production designer Adam Stockhausen prepped a wide variety of sets for Steven Spielberg’s Cold War-era “Bridge of Spies.” Some interiors were built on a soundstage, but much of the film was shot in New York, Germany and Poland.

Stockhausen created a script breakdown with location manager Jason Farrar, reviewing each site and analyzing structural details such as window alignments that would affect each of d.p. Janusz Kaminski’s shots.

As a result of its rapid development, East Germany has retained little of its ’60s look, so Stockhausen and the locations team looked elsewhere for bleak Communist bloc architecture. They found suitable substitutes in Poland.

The interiors of many locations were fabricated based on historical references. Stockhausen turned to set decorators Rena DeAngelo for the U.S. part of the shoot, and to Bernhard Henrich for the Euro portion.

“I met Henrich when I was working on ‘The Grand Budapest Hotel’ in Germany. He was a natural choice,” Stockhausen says. “Rena and I met as assistants, and always wanted to work together.”