Brooks hopes that the film can be filmed in the chronological order of the scripted story. In order not to destroy the coherence of the story, he feels that the emotional rhythm of the film should be further accelerated, but due to the limited schedule and shooting budget of the actors, this change is obviously impractical. Nevertheless, with the concerted efforts of the crew, the filming of the film is still as close as possible to the sequence of the script. Brooks also hopes that the film can be shot in real locations as much as possible, because this can avoid the actor's sense of disorientation when shooting in the studio. Brooks insisted on shooting in order without destroying the emotions of the actors, but it was much more difficult for the crew, because there are no moving walls in the real building, and the movement of the camera is thus restricted. Faced with all kinds of constraints, the photographer Hill adopted a short-focus lens and put the camera in the corner, exhausting all kinds of tricks.
In the months before the filming started, production designer Langdon had already begun to look for location and overall design. At the suggestion of the director of location production, Langdon made a survey of Lincoln Heights and quickly decided to create a location for Mexico. Under Langdon's command, the production team not only built Flau's house in Mexico on the hillside, but also obtained the consent of nearby residents to paint some houses with bright colors. At the time of filming, a large number of poultry, livestock, and extras recruited by executive producer Christie Hobage filled the entire street.
The restaurant scene in the film was the last shot, and Langdon led the team to imitate a "French Laundry" restaurant over several months. Although the entire set was designed based on Keller's restaurant, the art department changed the decoration of the main dining room before the shooting. Originally, the creative team was completely renovated in accordance with Thomas Keller's restaurant, and even the details did not differ. But as Adam Sandler began to shape the character, Brooks realized that something should be changed to make John his own. In order to present the real back-cooking scene, Keller guided the whole process in the studio. In addition to directing the actions of the actors, Keller also paid special attention to the food in the film. All the dishes that Sandler cooked in the film They are prepared in the "French laundry room", and some are even finished products directly provided by restaurants
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