For The stewardess, production designer Sara K White was excited to work on creating spaces to physically represent the main character’s internal struggles while dealing with a mysterious thriller. Kaley Cuoco plays Cassie Bowden, a flight attendant with a drinking problem, who wakes up in a strange hotel room in Bangkok, next to a dead body and with no memory of what happened. pass. The episode White is nominated for, titled “After Dark”, has Cassie leaving the hotel room in her mind, only to be stuck in another nightmare. This episode constantly switches between reality and fantasy, so White had to make sure the fantasy world was constantly changing with Cassie.
DEADLINE: What were your initial thoughts on the production design of the series?
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SARA K WHITE: I was really excited about the dark mystery of this one and the way we were bringing his internal struggles to life in a physical way. They’re a really important part of the book and making them a space that we could be in was really exciting for me as well as setting up the mysterious thriller aspect. Cassie is a person who often likes to move into spaces that are not the ones she grew up in, and she escapes into those spaces that are very atypical to her. So playing on those two things was where we started. And then we were also talking about Hitchcockian themes, how we wanted to play the mystery and how Cassie would be this central character who had a lot of flaws, but also a lot of sparks.
DEADLINE: Why was the episode “After Dark” submitted for review?
WHITE: It’s an episode that I really enjoyed designing. We’re really in the depths of how she grapples with her past and how she deals with her present, both before and during the time she’s trying to figure out the murder mystery. So we dive very deep into the palace of the spirit. We’ve created a maze where she experiences parts of her past as she walks through the mind palace and we jump quite dramatically between the present and her subconscious in this episode. It was something really exciting to develop with our showrunners and with our writer for this episode, and I was really proud of the engagement we had, and it was also an episode where we were creating a lot more from zero than expected. , because we were closed for COVID in the middle of this episode. So there were a lot of complications that we overcame as a team that I was really proud of. And now almost everything you see in this episode is created from scratch, from scratch.
DEADLINE: And how did you make the maze-shaped hallways when she finally left the hotel room?
WHITE: We worked closely with our director and cinematographer to make sure we could bring as much as possible to the little part of our scene we had left to build that hallway. We worked closely with our visual effects team to come up with hallway extensions, but a lot of it was done in a very practical way, where we opened up hallways, doors, or turned a dead end into a room that we did. you could cross. So we’ve had a lot of rolling on the set itself to continue to create some surprising moments as you walk through it.
DEADLINE: Can you talk about the entire hotel room, as it was essential for the whole season?
WHITE: I wanted to make sure that this was really part of the 1% lifestyle that Alex Sokolov (Michiel Huisman) is used to living. And we really felt that glamor as an audience and how central and alluring this space was. While it looked like an upscale hotel in Thailand, it was also a scene where we could incorporate all of Cassie’s subconscious and psychosis, and inhabit the space physically with many different decorative items that speak of the moment. now that it is blinking. coming back from. So we made sure that there was a fairly significant amount of open space and that there were a lot of different points of view from which you could look with the camera. The backgrounds could be something that we move and change, and that could open up as the series progresses. Having new spaces revealing themselves and having the ability to see the same space in multiple ways are both essential to the success of the series, as we’re in this space so often that if it started to get visually boring, we would have been in trouble. .
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